Thursday, May 19, 2022

Labels - wtf

Browsing my immediate circle of influence for labels to send a new record to, I came across a few instances of something I thought was long since dead: labels being arseholes about demos.

Now, I really think that labels are very important, and play a huge part in the biz at every level, so I don't want to be too critical, BUUUUT... I mean, c'mon man - if I click your demo section that you've kindly put on your website, you must be aware that people might want to get in touch with stuff you might want to work with. It's not fucking rocket science, but the amount of passive aggressive nonsense on these things is amazing.

Phrases like "if you must send something to us", or having reams and reams of stuff to read before they'll let you have an email address, which is usually not even looked at anyway (quite a few just have memory hole email addresses that go nowhere). Like, what's the point? If you don't want people to send you stuff, just fucking say. Just a quick note, to make sure any would-be demo sender gets the idea beforehand. That's fine, and I saw a lot of good labels do this - fair play, I thought, I'm a big boy, I can handle it. 

It's the sort of 'yeah, but I want to keep that option open just in case something ace comes in' bullshit that really does my head in. Either you want demos or you don't, you can't write a TED talk on how someone sent you a demo that was slightly out of your preferred genre back in 2004 and since then you've had to make them sit through this drivel before allowing them a shot. Come on, just deal with it - it's part of being a label I'm afraid. Just chill.

Also, it's 2022: I am not sending you a physical demo. It's not only terrible for the environment, but also a complete waste of time, money and effort - I'd much rather you just say 'no demos thanks'. Imagine sending a white top CDr in the year of our lord 2022 in the fucking post to a PO box in America, just for it to be ignored (which it will be). I remember doing that in the very early satan days, and I'm not about to recreate it 15+ years on.

One final whinge I'll leave you with, was that this little tale reminded me of a time back in the day, when small labels would pop up all the time, and people latched onto them a lot. One such label had a contact button, and a thing about demos, to which they thought writing, then posting a fictional argument with someone trying to send a demo which wasn't their preferred genre, was a good idea. It ended up being really salty and really nasty sounding - proper snobby. Far from it being endearing, or funny, or both, it was just irritating and left me with the distinct impression these guys were complete pricks. Oh well.

Thursday, May 12, 2022

Tour snaps

Just had a roll of film come back with some snaps from the recent Bloodsport tour back in March...

Was an unusually beautiful day in Shipley for the gig at The Triangle

Here's basically all the gear I use for the live show

Quite proud of this one lol

Round the back of Wharf Chambers in Leeds.

Trying to look cool, but just look tired

Above the random buildings at Tebay services, en route to Glasgow

The only shot I managed to get in Glasgow: after the gig, in the car park

On the way home, somewhere outside of Skipton, stuck in mad traffic

Loading the car up in less than ideal conditions, on the way to London

Saltaire with some spring snow (as you do)

The always reliable Servant Jazz Quarters in London

The last copy of Bloodsport, on display downstairs at SJQ in London

Me, looking a bit worse for wear (no idea what my hair is doing) once back from London

Thursday, May 5, 2022

Will this be on vinyl?

9 times out of 10, anything satan related probably won't be on vinyl. Why? Is it some kind of protest, some sort of ethical choice? No, not really- it just costs a fucking fortune and takes an age to get sorted, so I don't really bother.

So here I wanted to be as transparent as possible about it all, as a lot of you ask me why certain albums aren't on the format and how it's a shame. Agreed, it's a real shame, but unless major labels suddenly stop pressing up copies of Fleetwood Mac's Rumours (that's not happening any time soon, trust me), a lot of satan records will be CD/ tape/ download only. Well, the ones I release myself will be, anyway.

So first off, once I've decided on a record - I've finished the recording and mixing, I've arranged, sequenced and pre-mastered it all, I sit there and figure out if it's worth contacting some labels about it, or if I'd like to do it myself through This Is It Forever. Sometimes the former is better, sometimes the latter - it's a fairly fluid thing, and I'm not militant about it. Say I decide, like Bloodsport for example, that my own label is a better fit this time around, so I'd better start thinking about how it'll come out. So let's say, hypothetically, that this album will be on vinyl - what does that entail and how much will it cost me?

Straight from the get go, I know there's a good 6-12 month wait at pressing plants for vinyl (with thanks to Fleetwood Mac), so that'll push the release date back a lot from my initial impulse (I'm very impatient when it comes to these things), which is to get it out as soon as possible. But before all that fun starts, what do I need to do to make sure this thing will end up on wax?

Well, there's mastering for a start - that's not cheap, and unless you're au-fait with vinyl mastering (that's different from normal mastering) and confident the finished product will sound up to scratch, you'll have to pay someone to do it. Cheap out on it, and it could be crap, pay mega bucks and you're already down a good few hundred quid. So what do you do? Try and find a balance? Ask around for some favours? It's up to you really, but lets say we try and strike a balance and I pay someone £20 a track to do it (that's still very cheap by the way) - that's instantly £200 on an album that's 10 songs long. And this is only vinyl mastering too btw - if you want to go the whole hog, you'll have to get someone to do a CD/ download master on top of that. That could be anywhere between £100-300 depending on where you go. 

So anyway, you've paid the money and you've got yourself a master. So what next? well my friend, you'll have to find a broker/ intermediary to handle the pressing side of things. There are also a few things you have to take into consideration in this next part: do you want a quality product? Or do you just want any old shit, as long as it's on vinyl? Obviously quality costs more, so it's always about what you can afford to do. Do you want a gatefold cover? Fancy artwork? Do you want a colour varient? Will it fit on one slab of the stuff, or is it a triple vinyl monster? All things you have to consider.

So say we have a nice 10 track album, which is easily split between two 20-or so minute sides. That in and of itself is pretty rare too: you'll have to edit tracks down so they fit on the format more often than not, and that can be tiresome/ effort/ irritating before you've even sent the files off. There is a near-legendary test press of the Ghosting Season album on vinyl stored away at a mastering place somewhere, with some of the tracks sped up so they'd finish quicker and could fit on the album. The label didn't have the money to press it in the end, but the master is still around I think.

Anyway, these companies will handle shit with the pressing plants, which is good for you - but also they'll charge for their time (obviously). When satan did Even Temper, it was roughly £1k for 250 pieces in pretty rudimentary sleeves, with no inserts or any fancy shit. That was in 2014, so the prices will no doubt have gone up considerably since then. When we did Blank Tape on CD a year later, we decided against vinyl as the album was too long to comfortably fit on one record, and to be honest, doing a double vinyl album didn't really appeal. I talked to the distro, and they wanted a few hundred of these things, so I had to press up a lot more than I normally would. Bloodsport was 100 tins, Blank Tape ended up being 500 digifiles, all shrinkwrapped at a later date, because someone at the distro didn't tell me it needed wrapping, so there went my profit margin. Anyway, they got a few hundred copies and they went into the marketplace. A few years later, I got an email from the distro asking if I'd like to have the remaining copies (I think at this point, it was 150 or so) destroyed as it was cheaper to do that then send them back to me. Thankfully I got them sent back and we eventually sold off the remaining lot. Lol.

Anyway, we did 250 pieces of Even Temper because that's the lowest amount the broker/ plant would let us do in one go - it's the cheapest option, basically. It's not viable for them to do like 50 pieces so you can be assured you'll sell out and you won't have endless boxes of the things under your bed for years. So 250 it is. If you want to get more in, it's more money. If you want to work with a distributor, so they can stock stores all over the world with your latest masterpiece - that's more money. You can't just walk into stores and ask them to stock your album - that would take absolutely fucking years to do, and they just wouldn't.

So let's say you've decided on your broker of choice, you've set some money aside for that, and you have an idea of how many you want, if you're working with any distro (obviously that's massively recommended unless you think you can shift these copies on your own), and you've edited down your album so it fits.

Next up: artwork. Who's gonna do that then? You? Someone else? Let's say you can do it yourself as you know your way around Photoshop pretty well, and it's not that hard. Cool, so that's front and back covers, inlays/ inserts/ and stickers for the actual records themselves. Are the distro cool about that arty cover that doesn't mention the album or band name? Or are you cool with shrinkwrapping every piece and putting a sticker on the front? Because yes, you've guessed it-  that's more money. Oh, and don't forget barcodes! You'll need one if you're working with distro. Thankfully it's fairly easy and not too expensive to get one. 

Right, so artwork now done after a few back and forths with the broker and the distro, and you're set. You've the album, the artwork, and the metadata. Yes, you'll have to tell them how long each track is, and what time the track ends before the next one starts, so the pressing plant can insert the groove, so punters know where song breaks are when they look at your lovely wax disc.

All that done, you send it off and wait. And there's a lot of waiting. Months and months later, you get your boxes, but not before you've approved of the pressing with a test press - if you've paid for one, that is. If you're doing it on the cheap, forget that - your first pressing is exactly that, and there's no going back. If you've paid for a test press, that needs to be approved, and any faults ironed out. I know of some pretty big artists that whip through tens of these things before they're happy. That's a lot of money for nothing.

Anyway, you have all your boxes of your lovely vinyl. Hopefully it's all survived the shipping and the packing process, as you'll now have to send some to your distro. So you'll have to fire up UPS or DHL or Parcel Force or something, and arrange movement of stock that you have to their warehouse(s). Again, that's a pain in the arse and another cost.

Once all that's done, you have to sell some of these things. Did you hire a PR to help with that? Or are you betting on your fanbase to instantly pick one of these things up? Because the price point to break even is now roughly about £20 a throw. Not all your fans will have the money or the time to invest in that, so you might end up doing bundles, or incentives to get them to part with cash - special colour editions, signed copies, t-shirt bundles, etc. Oh, and postage now is also ridiculous. That on it's own is a serious reason why I don't bother with vinyl much these days. It's an absolute fucking fortune, and on top of that, you have to pack it correctly, lest it arrive damaged. That's heavy duty mailers, bubble wrap, etc. for each unit sold. Again, more cost and more headaches. Oh, and where are you keeping these things? I live in a terrace in Saltaire, not exactly known for their lavish amounts of free space to store boxes of vinyl records. You could stash them at your parents' house, or a mates garage, or whatever, but that's a lot of hassle and maybe in some cases: more money.

Yeah, so PR isn't cheap either, and doesn't always click - sometimes a PR won't be able to swing everything they want, sometimes the timing just isn't right, or sometimes the stars don't align, and you don't get things you thought you would: interviews, reviews, features, etc. Oh, and what if you get a shit review for this album too? That's just added to the amount of unsold units leftover after all this madness calms down. Having said that, a lot of the time it's ok and you'll be able to gather together at least some decent stuff.

So get out on tour and sell some, right? OK cool - where you playing and how you getting there? A few local shows are always good, but if you can't rope in a promoter to do it, you guessed it - you have to do it yourself, which is more money. And time. And effort. And the rest. If you don't have an agent, you won't be playing large shows, which means you have to do a lot of smaller ones - that's more time, effort and money driving, playing, promoting, etc. 

So after all this, you sit down and you take stock, and realise you've finally done something that not a lot of people actually do, so that's well worth a pat on the back and a celebratory pint: this shit is not easy, so if you manage to get through all that unscathed - fucking congrats, and I mean that wholeheartedly: don't forget to big yourself up. But, oh shit - that's just the first album of the year, and you have another 3 releases planned for the rest of it. So... will those be on vinyl?

Friday, April 29, 2022

Celebrity Bloodsport

Today's the day! 

Thought I'd better put out this remix album of stuff from Bloodsport sooner rather than later, so here you go! 12 remixes - 10 by different remixers, and 2 by me. ENJOY.

Friday, April 22, 2022

Track breakdown: Bis Ich Komme

If you've ever wondered what a worriedaboutsatan ableton session looks like, then wonder no more! I've done a little breakdown thing on Bis Ich Komme, the second track off Bloodsport.

Yes, the production values leave a lot to be desired, but it does the job I think. Quite fond of that shitty youtuber style thumbnail too.

Anyway, enjoy it, and if you've any requests for future tracks to breakdown for you, lemme know and I'll see what I can do.

Tuesday, April 5, 2022

Tour 2022

Bloody hell, touring is knackering isn't it?

Anyway, I've just about recovered from the March 2022 dates, and just wanted to say a big thank you to all who came out and saw me, those that picked something up, or just had a little dance: it's all massively appreciated, so big love from team satan. Which, I guess is just me. Lol.

It was proper hard work, not made any easier by covid throwing multiple spanners in the works, which meant that Dean McPhee and Deer Leader both had to pull out of the Shipley and Glasgow gigs respectively. A massive shame, as I was really looking forward to seeing both! Jon Gomm was an absolute star and filled in for the Shipley show, and in Glasgow I sort of had to support myself by doing a longer set than usual. Was fun, actually, even if I didn't quite know what was happening at times.

London and Leeds were great too, although the less said about my synth throwing a little tantrum onstage in Leeds, and deciding it was then that it would detatch itself from the drum machine it was getting the tempo information from, the better. It's now gone to live on a farm somewhere in the countryside, and was replaced on a particularly manic Saturday morning in Bradford. Shout out to Disc DJ store btw, they had one in stock when no-one else in Yorkshire did! Great shop too, full of lovely toys.

Big shout out to the 13th Note sound tech too, Kay, who I'd been talking to about all manner of weird, underground music, only for my in-between band playlist scuppering my street cred by blasting Misery Business by Paramore straight away. Oops.

Anyway, touring by yourself isn't always easy, and having to do little things you very rarely think about, like doing the door, or manning the merch desk, or just making sure the support band is alright (and making sure you pay them too!) is a LOT of effort. My back went on day 1 and didn't recover again until just now, so let that be a lesson to any touring musician in their late 30s: look after your back.

Shipley looking lovely in the sunshine

Leeds, complete with naughty synth just out of shot

Glasgow, with a Paramore soundtrack

London, where I forgot to take a pic of it all setup, so here it is pushed to one side

Friday, March 25, 2022

Bloodsport day

Today's the day, folks! Bloodsport is finally out.

To say this record has been a massive part of my life over the last six months would be a monumental understatement. From finishing the actual music to today's release date, it's been an absolute shift, I can tell you - from mixing, mastering and sequencing, to pressing it up, doing all the PR and then posting it all out to everyone, it's been mad.

First up, big thanks to you if you've bought it already. If not, there are a few copies back in stock over at my Bandcamp page:

The only other copies are with me on this tour I'm on over the next week or so. Tonight I'm off to Leeds to celebrate at Wharf Chambers, with Western Edges in support. They're actually a side project of Richard Adams from Hood and Declining Winter, so it seems apt that someone who created so many albums that mean so much to me, and informed the music I want to make, is on the same stage this evening. You can get tickets here, up til about 6pm I think.

Anyway, Bloodsport! It's done, it's out and it's gone. Really hope you enjoy this one, as it was a hard thing to finish, and an even harder one to actually put out. Doing everything yourself is always a double edged sword, and I don't think I'll be doing another 'big' release like this by myself anytime soon - man, it's hard work! haha. I've been thinking about how to get stuff out much quicker and easier recently, and I'm hoping to experiment a little bit later this year, but more on that later. I'll have a few more albums coming soon, and then a few live appearances too. 

For now, enjoy the album and be sure to spread the word :)



Thursday, March 17, 2022


I was a little bored the other day, and realised I'd not done a mix in a while. Not just a Spotify playlist or whatever, but a full mix. So I took a whopping 90 minutes out of my hectic schedule of checking twitter and eating biscuits to bring you this:

It's nothing too fancy, just some tunes I've been enjoying recently and a few old classics. Added in something new from the up-coming Bloodsport album in there too, so if you fancy hearing something before the release date, check it out.

Also, sorry to anyone from NTS offended at my mangling of your artwork templates, but I just couldn't resist once I'd seen that NTS backwards is STN (or satan if you want to get 'remove the vowels' about it)


Friday, March 4, 2022


Out today is a new little single, which is also the second track you can hear from the new album Bloodsport. It's called Sigourney Weaver Fanclub President, and it's backed with 3 remixes. One from Benoit Pioulard, one from Pye Corner Audio, and one from r beny

It's pay what you want, but all proceeds will be going to UNICEF's Ukraine appeal:

It's a real big bastard of a track, and probably one of the most aggressive things I've done as satan, for a while at least anyway. I polished it off last year, when the nights were dark and cold, and weirdly enough, did the most on it when my beloved Aston Villa were thumping Arsenal 3-0. The Premier League put some games on pay per view, even though they were behind closed doors because of Covid, so I went upstairs rather than pay the money to watch it (we had about 4 games paywalled IIRC, which was super irritating) and finished off this bad boy. Time well spent.

The shirt on the front cover is this one  I picked up from Girls on Tops: and the name is just a stupid thing I came up with, as who doesn't like Sigourney Weaver? She's absolutely badass.

Tuesday, March 1, 2022

Tour (again)

Wow, it's March already... to be honest, I've been working on so much over the past few months, it's been a case of "tour? oh yeah, that's miles away" - well Gavin you idiot, it's here now and you've about 23 days to get ready.

Anyway, I thought I'd use this meagre space that I have on the internet to shine a light on who is coming with me on this little jaunt around the UK. I've made a playlist using Bndcmpr, which lets you assemble playlists based on Bandcamp links, which is nicer for the artists and quicker too - Spotify constantly fucking breaks on my computer, which is a real on-the-nose assesment of it's worth to be honest. The playlist is here: and contains 2 songs from each act I'm playing with.

Starting in Shipley, Dean McPhee will be playing with me, which I'm really excited about, as he's one of the best things about the music scene in Bradford and it's surrounds. He's a really nice guy, and his music is beautiful: just big fat layers of guitar ambience slowly unfurling. He's a great guitar player too, and enjoys a laugh, which is always handy. Join us at Shipley's finest beer shop, The Triangle on the 23rd.

Western Edges is a name that might not be familiar to you, but the person behind it will be. It's the brainchild of Richard Adams, who was in one of my favourite bands of all time, Hood. He's also the man behind the Declining Winter too. Anyway, Western Edges is his more ambient electronic project, and it should prove to be a really nice opener to the night at Wharf Chambers in Leeds on the 25th.

Deer Leader are joining me in Glasgow, at what will prove to be a hell of a night, if all things that could happen actually happen. Despite my best efforts, I've fallen into my own trap of booking a gig when there's something big happening. Scotland might be in the World Cup playoff final on this date, so if you're after a big, emotive post-rock party to celebrate, or some miserable electronica (that's me) to commiserate, join us on the 29th at the 13th Note.

...and finally GWFAA (or Good Weather for an Airstrike) is the project of Tom Honey, someone I've known for years online, but never actually met. He's a real nice guy and makes really dreamy ambient post rock, so am very much looking forward to finally chatting to him about football even though he's a Spurs fan ;) Come tease him, despite them being so much better than Aston Villa at Servant Jazz Quarters on the 31st.

Thursday, February 10, 2022



Bloodsport, if you didn't know already, is the new album from myself. It's the 9th overall (give or take mini-albums, EPs, live albums, etc) and it's coming out on my own This Is It Forever label on March 25th. 

You can snag a pre-order here, and the CDs come in tins! How good is that?

Artwork by Cameron Steward


Aside from all that promo stuff, I thought I'd talk a little about the album on here, to give it a bit of context and a bit of depth. Sort of like those 'track by track' things, but with more emphasis on the album as a whole.

Anyway, the way I usually make albums is to just relentlessly make a batch of music over the course of a few months, with a sort of over-riding 'theme' going on. Sometimes it's just because I've got a new bit of kit, sometimes it's because it's sunny, sometimes because I want to make things faster, but whatever it is, it usually bleeds into everything from that time period before I cut it off and assemble it into an album. Sometimes tracks won't make the cut, but will end up sounding fairly similar to other stuff that didn't make the cut on previous albums, so they'll become best friends and be released together. Funny how that goes.

Bloodsport is pretty much all built from the ground up, just me in my little box room in Saltaire. One track was me re-tooling a fairly old idea that basically had all that idea scraped out of it in the end, and one was supposed to be for a split that didn't happen, where we would be trying to use old trance chord progressions and make them into swirly ambient stuff. Probably for the best that it didn't happen.

The first three are supposed to be a sort of 'mini suite' - I was a bit bored of constantly doing ambient openers, and having albums try to grow from a slow start. I thought this time, I'll introduce the record with some unsettling guitar loops that pan from left to right at a pretty horrific speed (Je Suis Désolé), before settling into something more serene, before that gives way to piercing bass dread notes and jungle breaks (Bis Ich Komme). Then that sifts into probably the biggest sounding thing I've ever done: Sigourney Weaver Fanclub President (getting better at track titles aren't I?) 

The two Absolute Living Hell tracks were actually done as individual tracks after I'd bought a Volca Beats drum machine - I ran it through my guitar pedal setup and got these really gnarly sounds (mainly due to some distortion) and so built two tracks up, not realising that they both sounded pretty similar. Oops! I don't think I could've gotten away with them being seperate entities, so I thought I'd better call them 1 & 2. I blame the drum machine's pitching and the fact I didn't alter it when I ran them through my pedals - of course the bass notes would impact the key, Gavin - jesus man, get it together.

Perfekt was a little skit I'd come up with whilst listening to a lot (and I mean a LOT) of Boards of Canada. You can absolutely tell, too. Anyway, I didn't want to spin it into a long track as it just didn't need to be any longer than it is - I'm trying to get away from doing that too, making songs long just for the sake of it.

Slur They Words is a bit of a weird one. I'd been buying sample packs pretty regularly since I moved to a solo outfit, mainly due to technical limitations, but also because they can be quite fun. I bought this one called Grime Vocals, which I thought I'd only use as a bit of flavour in certain tracks - y'know, pitch down a few 'yeahs!' or whatever, but then this one rap really caught my attention, and lo and behold, I fit it to this beat I'd made and it sounded ace. Really dark & sinister. "Would satan fans like it?" I wondered, before realising that if they didn't, that's not up to me. Just do what you want and see where it goes - that's a good way to be I think. Anyway, yes - it's a satan track with a rap. 

Apex Redditor is the one track title I get most reaction too, and I kid you not - I woke up with it in my head, y'know how you wake up sometimes and you're still groggy and your mind is just all over the place? I had that, and for some reason Apex Redditor popped in. Mad. Anyway, the track is a pretty simple one, and is about the only thing on there that isn't deathly dark and brooding. It's got a bit of hope to it, so wanted to end the record with it. I glitched a piano and added a few synths and beats and called it a day. The spoken word stuff at the end btw, is an old interview with Can on German TV from the 1970s. Thought it was nice, so added it in.

So yes, there you go - Bloodsport, baby. The album's out soon, and there'll be a single between now and then, with some tasty remixes as well, so look out for that!

Friday, January 21, 2022

A quick war story 2

I randomly remembered another pretty funny war story yesterday, so thought I'd share. 

This one was at, IIRC, a pretty big gig for satan - a launch maybe, or at the very least, a big gig in front of a lot of the band's friends and peers. It had started badly anyway, with the line-up being out of satan's control and having to shunt a friend of ours off the line-up in favour of this other band, who didn't exactly fit our sound at that point. We didn't really know them either, so it just made things a little awkward.

Anyway, on the night of the gig, they start playing and it's all very inoffensive folksy post-rock sort of stuff, and people seem to be ok with it, but as it goes on, the energy sort of goes out of the room - this was Arrivals-era satan, and it was all clicks and micro-techno with huge atmospheric guitar stuff, and here we all were, checking watches and going to the bar for a pint. I stayed in the room and watched the whole thing, as I was a bit antsy and also thought it rude not to - they were here as guests of ours after all.

After what felt like an eternity, the band ask the promoter if they can play another - I'd checked the time, and it was getting really tight, even with our customary very quick turnover between bands, so assumed the promoter would say no, but to mine (and everyone else's) surprise, he gave the go ahead for another TWO songs. This almost had them cracking on for an hour's set, at a gig that was supposed to be a celebration of our music. In the end, I think we had to cut our set short and managed about 30 minutes before the venue came up to turn the lights off.

Just before they launched into their encore however, the bass player went down in satan legend as he got on the mic and started talking about how much he liked the Leeds scene at the time. We thought 'finally! some recognition!' and as he waxed lyrical about every other band in the city apart from us, he dedicated the last two songs of the night to his favourite Leeds band... Bilge Pump. Our faces were a picture. Imagine being invited to play a band's big hometown show, only to turn up, insult them and then praise another band, who weren't even there. Absolutely superb. 

Never spoke to them again funnily enough.

Monday, January 10, 2022


For the first time since early 2019, there'll be a satan show in your town this March. Well, only if you live in Shipley, Leeds, Glasgow or London anyway.

Yes, I'm hitting the road for a few shows, and all being well, it should prove to be a lot of fun. It'll be the first time you've ever seen satan as just me, so the sound and general look of the thing will be pretty different to what you've seen in tours gone by. Obviously, with the onstage headcount being halved since last time, I'm having to do everything myself, and I've had to work out how to translate bits of the satan catalogue into a live setting. It's not been easy lol.

Anyway, tickets are available here

Shipley is a free show, so there aren't any tickets for that. 

There's no laptop, no fancy visuals, just me and a bunch of pedals, surrounded by little boxes. 

Obviously, I'm hoping I won't have to cancel these gigs, so if we could all be vaxxed as much as possible, that'd be class. Get your mask on and let's all be sensible about it all so we can all have some safe fun.