Tag Archives: Hastings

Blues: album review – King Size Slim ‘Live At The Palace’

This review was originally published by The Stinger here

Proof, if it were needed, of what a dynamic live venue the newly-refurbished Palace in Hastings is turning out to be comes in the form of this new CD from King Size Slim.

Toby Barelli, no stranger to the Hastings live scene, has been gigging for ten years now in his King Size Slim persona. His brand of raw, heartfelt, acoustic blues has picked up many fans along the way.

After spending a couple of years as part of pioneering 2-Tone ska heroes, The Selector, Barelli switched to a rootsy, ballsy, acoustic blues boogie sound. King Size Slim was born.

Spanning ten self-composed tracks ‘Live At The Palace’ captures Toby Barelli on fire with the Hastings crowd earlier this year. A talented guitarist and a naturally charismatic performer this CD positively drips with atmosphere and groove. Playing his trademark battered Tricone Resonator guitar, for this gig he’s also joined by a full band of Rufus Stone on upright bass, and James Gulliver and George Macdonald on percussion.

Songs like ‘Dark Soul’ and ‘Monkey, Where Are You?’ are given a real added potency with the funky bass and infectious percussion. The gig, and the album, ends with a rousing, singalong, rendition of Barelli’s ‘May We Find’ – surely an anthem for these troubled times?

A brand new studio album is promised for 2018 but, in the meantime, this live CD captures the excitement and energy of a King Size Slim gig. Anyone familiar with Toby Barelli’s work will surely want to buy this – particularly if you were at The Palace on that magical night.

http://www.kingsizeslim.com/

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Review: Mearfest at the Carlisle, Hastings 9/12/17

Saturday saw Hastings’ legendary rock pub, The Carlisle, host Mearfest. Inspired by personal tragedy Claire and Brian Mear have been running their rock and metal charity events for several years now, with funds going to The Willows stillbirth charity and other local causes.

Comprising a dozen bands and one solo acoustic set, all performing original material – no tribute acts or covers bands – what struck me throughout the day was the sheer quality of the acts taking the stage.

Particular standouts for me were Southampton five-piece, Toledo Steel; ‘Now Wave Of British Heavy Metal’ act, Kaine; and NWOBHM veterans Satan’s Empire, reformed after three decades.

Powerfully majestic but hard and heavy Toledo Steel put me in mind of classic-era Dio and Rich Rutter’s vocals and Tom Potter’s and Josh Haysom’s guitars are the perfect combination for this brand of hard-hitting melodic rock metal. Toledo Steel are definitely on my list to see and hear more of and I am certainly enjoying their excellent six-track EP ‘Zero Hour’.

http://www.toledosteel.co.uk/

Kaine is a four-piece formed in 2009 and musically inspired by the late 70s/early 80s New Wave Of British Heavy Metal boom. Powerful well-written songs and powerful delivery, you can hear the influences from their musical heroes like Iron Maiden in their performance. I took a copy of their excellent album ‘The Waystone’ away which confirms why they are getting so many plaudits on the contemporary metal scene.

https://kaine-metal.com/

Satan’s Empire had a breakthrough of sorts in 1981 when their excellent single ‘Soldiers Of War’ appeared on a Neat Records compilation. Sadly, they disappeared from view but now, with the original line-up still intact, they have reformed. Their performance oozed class, stage presence and memorable songs and it’s great to see them get a second bite of the cherry. They deserve it.

https://www.facebook.com/SatansEmpireOfficial/

I’ve just pulled three acts out here that particularly inspired but in truth the quality didn’t let up throughout the day. It’s clear that organisers Brian and Claire Mear love what they are doing and, importantly, know what they are doing.

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http://www.mearfest.org/

Live review: Fisherman’s Friends at St Mary in the Castle, Hastings 12/11/17

“I quite like hearing the odd sea shanty – but I’m not sure I could manage a whole evening of it,” announces a long-time friend and my gig partner for the evening, seconds before Fisherman’s Friends are about to take the stage. Ah… hmmm. Perhaps I should have explained a little more when I first suggested going to see Fisherman’s Friends. I hope she’s not going to be too disappointed, I think to myself.

For the uninitiated, the Cornish singing group from Port Isaac have been making a huge impact in recent years singing traditional songs of the sea that have handed down to them over generations. They became the first traditional folk act to land a UK top ten album. Unsurprisingly, the group are clearly going to receive an enthusiastic welcome in a traditional fishing town like Hastings.

While there are enthusiastically-sung shanties galore tonight, it soon becomes clear that, wonderful though these are, Fisherman’s Friends’ repertoire expands much wider than that. An Americana-infused riverboat song, traditional songs of a non-seafaring nature, a Show Of Hands cover and the sea shanty ‘sub-genre’ of whaling songs all nestle with the anticipated shanties in the set tonight. Although many of the songs are delivered acapello showcasing the rich range of voices from the seven men on stage, there is also some nicely played guitar and accordion thrown into the mix at times, too.

Fisherman’s Friends are brothers and lobster fishermen John and Jeremy Brown, writer Jon Cleave, potter Billy Hawkins, smallholder John Lethbridge, builder John McDonnell, fisherman Jason Nicholas and film maker Toby Lobb. However, due to other commitments founder member John Brown is taking some time out on this tour and has been temporarily replaced by Jon Darley from upcoming, Bristol-based sea shanty group The Longest Johns. In a stage act that is never short of banter, much is made of the imposing hunk-like presence of the handsome young Darley joining the predominantly silver-haired Fisherman’s Friends on stage. As well as the body, however, Darley has a superb voice and takes the lead on a handful of songs tonight, including a gloriously rousing ‘Drunken Sailor’ for the encore. In fact, it would be good to see the Longest Johns doing a gig in their own right here in Hastings – someone book them!

Highlights in the set for me tonight include ‘Leaving Of Liverpool’ (a song which I think must have been compulsory learning for every primary school class in mid-1970s Lancashire and one where I know every word), ‘Cousin Jack’ (a spirited cover of the Show Of Hands favourite) and a rousing ‘The Union Of Different Kinds’ (definitely an anthem for these divided times).

Fisherman’s Friends certainly deserved the thunderous encore they got tonight. And my friend? She loved it, including all the shanties, Phew!

https://thefishermansfriends.com/

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Related review:
Album review – The Longest Johns

W.A.S.P. at White Rock Theatre, Hastings 12/10/17

This review is also published on Get Ready To Rock here

Loud, brash, obnoxious, Blackie Lawless’s LA metal outfit W.A.S.P. burst on to the scene in the early 80s and were never far from controversy. Over time, however, the band evolved and their output started showing signs of growing maturity. To be honest it’s not going to be too difficult for your music to start getting more mature if your first record is called ‘Animal (Fuck Like A Beast) is it?

The W.AS.P. of the early90s had moved on to recording a full-blown concept album. ‘The Crimson Idol’ tells the story of a boy Jonathan and explores themes of estrangement, drugs, fame, money and suicide. It has become something of a cult heavy metal album and, twenty-five years since it was originally released, Lawless and his band are touring it in full.

Apart from the ever-present Blackie Lawless, W.A.S.P. has undergone numerous line-up changes over the years and no-one else on stage tonight originally performed on ‘The Crimson Idol’ album. Nevertheless, the band are in fine form and there is some powerful playing from new drummer, Aquiles Priester, and from lead guitarist, Doug Blair. Lawless’s distinctive vocals are as strong and as recognisable as ever.

Songs like ‘The Invisible Boy’ , ‘Chainsaw Charlie (Murders in the New Morgue) and ‘I Am One’ are superb tracks and stand up well on stage. Unlike when some acts choose to revisit an album in full and take the opportunity to reminisce on the history behind every track, there is little in the way of on-stage chat tonight, but Lawless is a charismatic stage presence nonetheless. Visuals from the accompanying film for the album play on three large screens at the back of the stage, adding to the atmosphere. It’s a great album and a great performance tonight.

However, throughout the show part of me was excitedly anticipating the encore and, hopefully, a run-through of some of the great songs from the earlier, dumber, stupider, trashier era of W.A.S.P. It wasn’t a long encore – three songs – as the band didn’t get on stage until 9pm, having only just arrived in the UK following the Scandinavian leg of their tour. But we did get gloriously over the top versions of ‘L.O.V.E Machine’ and ‘Wild Child’ which made a fitting end to the proceedings. Was I disappointed that we didn’t have a bit more of this? A little – but that has only made me more determined to catch Blackie and the boys again when they are next over…

Set-list:

The Titanic Overture
The Invisible Boy
Arena of Pleasure
Chainsaw Charlie (Murders in the New Morgue)
The Gypsy Meets the Boy
Doctor Rockter
I Am One
The Idol
Hold on to My Heart
The Great Misconceptions of Me
The Real Me
L.O.V.E. Machine
Wild Child

https://www.waspnation.com/waspnation.htm

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From The Jam at White Rock Theatre, Hastings 15/6/17

This review was also published by the Hastings Independent on 7/7/17

For those who tend to overlook the White Rock Theatre for offering little more than a constant diet of musicals, panto and the sort of saccharine golden oldies shows your nan would go to see, tonight demonstrates why they offer more than that. Tonight the brash excitement and explosive anthems of The Jam came to town. The band may have split forever in 1982 and Paul Weller may not have shown much interest in revisiting his Jam-era back catalogue in his solo career. However, for the past decade bass-player Bruce Foxton along with guitarist/vocalist Russell Hastings have been touring as From The Jam.

The whole evening has a distinct flavour of the late 70s mod revival to it. Fellow Mod travellers, Secret Affair, are the support act. While no-one can really pretend they wrote the most epoch-defining songs of the era their soul-infused pop-rock is well received and the energy levels really go up when they end the set with their hit ‘My World’ along with a spirited cover of ‘I Don’t Need No Doctor.’

With From The Jam, however, the energy levels are palpable as soon as Foxton, Hastings and co. take the stage. The classics come fast and furious: ‘In The City’, ‘The Modern World’, ‘Down In The Tube Station At Midnight’, ‘That’s Entertainment’ and, of course, ‘Going Underground’. In both looks and vocal delivery, Russell Hastings is not a million miles away from Paul Weller. It’s very much not, however, one of those weird tribute shows where band members start play-acting the roles of former personnel. Hastings has a charisma and stage presence in his own right. Foxton is as awesome a bass-player as ever and contributes occasional lead vocals as well, just as he did back in the days of The Jam. With superb drums and keyboards they are a tight and impressive foursome on stage. They certainly know how to work the crowd.

“We are, we are, we are the Mods” chanted the audience for what seemed like forever after the band left the White Rock stage to deafening applause. After perhaps the longest break I’d ever recorded between a band leaving the stage and returning for an encore, the guys are back with ‘A Town Called Malice’, ‘Saturday’s Kids’ and ‘Eton Rifles’. It’s a brilliant end to the evening.

A superb and much-cherished band, Bruce Foxton can be enormously proud of the part he played in The Jam. No-one can blame him for wanting to celebrate the band’s legacy in this way and the audience reaction from the absolutely packed-out White Rock shows there is still much love out there for the band’s music. So there should be.

https://www.fromthejamofficial.com/

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Interview: Diggeth – The Dutch heavy metal band with the ‘acoustic guitar test’

This interview was originally published by the Get Ready To Rock Website here

Some bands, regardless of how big they they are, what size venue they are playing or how many albums they have released just manage to grab you straight away with hard, punchy, instantly memorable rock tunes. When I wandered into Hastings’ historic rock pub, The Carlisle, with an old friend last summer I was immediately taken with the band who came on stage a few minutes later – Diggeth.

It’s all down to the “acoustic guitar test” claims guitarist and lead singer, Harald: “Everything we write we always have a criteria. We must be able to play it on an acoustic guitar. That’s the test. Because it is very easy to write all kinds of guitar riffs and string them together and on electric guitar everything sounds big. But we always do the test, grab an acoustic guitar and sing into it. Is there a song?”

Diggeth are Harald te Grotenhuis (guitar/vocals), Alco Emaus (bass) and Casper Bongers (drums) and are a metal three-piece from the eastern side of the Netherlands. I catch up with the band in after a sound-check prior to a return to the Carlisle stage later that evening as part of a UK tour.

The songs

Citing influences like AC/DC, Metallica and Lynyrd Skynyrd, songs like ‘Kings of the Underworld’ and ‘See You In Hell’ (from the band’s last album) have all the hallmarks of classic metal anthems and stand up well alongside those of much better-known bands.

They explain a bit more about the process behind them.

Harald “We jam a lot together. We are really a jamming band. I guess like the classic bands did. It’s not that difficult to come up with all kinds of intricate guitar riffs but the thing is to write something you can sing over. My wife is my best critic. Sometimes I play her a song and sometimes she says to me well it’s still in my head after a day or two and sometimes she says nah I’ve completely forgot about it. Sometimes we come together and write something on the spot. Sometimes it’s something I’ve worked on for days or weeks.

Casper: “We spend a lot of time jamming together with the three of us getting the sound, the bass, the whole dynamic.”

Alco: “We have a certain frame that we work in and we have a certain sound. That’s the starting point.”

Harald: “We always try to keep it as simple as we can. We’ve played in bands before and we were always gluing stuff together you know, riffing: A riff, B riff, C and here we’re gonna do a break but that to me is like a puzzle. If you listen to a classic band like the Beatles or the Stones or Creedence Clearwater Revival they have memorable songs. It’s the same thing with playing a guitar solo. You can play a lot of notes and do all kinds of techniques and it’s amazing if you can do that. But to me the best is if you can play a melody that sticks in your head. So that if you are on your bicycle to work tomorrow morning and you whistle that melody that’s the thing for me.”

Alco: “In a three-piece band the drums and the bass have to be tight, all together. So Harald can do his singing and when he plays a solo we go to the back of the sound a little bit but we still provide solid bass and drums.”

Harald: “What I like about it is sometimes I come up with stuff and as soon as he starts playing the bass to it and the drums come in nine times out of ten we have already started to simplify it. OK I came up with something and it’s already too much – bring it back to something that is memorable and sticks. There are many bands that play music and you have to listen a couple of times before you get it and we sometimes do that, too, but I also like it something that grabs you.”

Casper: “When the first note is like woah!”

The Band

Diggeth has been around since 2004 but Harald and Alco have been playing together in bands even before that, for around 17/18 years now. Casper, a couple of decades younger than the other two, is the new boy in Diggeth. Becoming a member two years ago was something of a dream come true for him.

Casper: “I first saw Diggeth when I was 13 and I was like wow! What the fuck is this? I was so excited. I had been playing drums and at home in the basement with the drum-kit. I would put on the first LP and play along with it. And I went to every show with my neighbour in my home town and one time, one new year’s day I think, they asked they asked me to join them for a jam in the studio, just for fun. Then about five years later I was with the band as a stand in drummer. Twenty songs and one week to learn them…”

Alco: “We recorded our last album ‘Kings of the Underworld’ and we got a lot of gigs lined up to promote the album -big ones, small ones and some festivals. But then our drummer decided to quit. We asked Casper to help us out and after two or three shows he joined us officially.”

Harald: ”With a three-piece band everything just has to be right, especially the drums and the bass. It gives me as guitarist and singer a freedom to do all kinds of stuff. It has to be spot on. Since we have had Caspar in the band it’s given us a lot of energy. It’s like wow things are taking off. We are playing a lot more gigs. We have just finished the basic tracks for our next albums. We have recorded ten new songs. We built our own studio last year. That gives us a lot of freedom. And now all of a sudden there are labels and bookers that are interested.”

Alco: “We are getting noticed.”

The shows

This is the band’s second tour in the UK, following an initial series of gigs last summer where I first encountered them

Harald: “We played our first gig [of this tour] on Thursday in London and there were people in but they we in the corners and we said OK let’s see what happens when we start to play people were like woah what’s happening and all of a sudden there were all the people in front of us. Everyone was paying attention.”

Alco: “We try to make a show of it.”

Harald: “The people who gave us feedback afterwards were like ‘wow there is something happening between the three of you – it’s good music but it’s also great to watch’ and I think that’s the biggest complement you can get as a band.”

Casper: “Obviously being a rock fan and a metal fan I feel very humbled to be able to come to England with Diggeth and play. All those famous bands that originated here it’s like wow we’re in England.”

Alco: “I never imagined when I was young that at 40 I would be in England, playing with a band playing the music that I love to play. Yesterday someone told us that the place we at in Reading Motorhead had played here and Iron Maiden. And we were like are you kidding me? Amazing.”

Harald: “If someone would have told me thirty years ago that in thirty years you will be playing in England and you will be playing clubs were like Iron Maiden had played I would have gone insane probably.”

The band’s third (as yet untitled) album will be released later this year.

https://www.facebook.com/Diggethmusic/

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Related article:

Review – Diggeth at Hastings 2016

The Copper Family at Hastings Jack In The Green 30/4/17

This review was also published in the Hastings Independent 12/5/17

The Copper Family of Rottingdean, Sussex have been noteworthy singers of traditional song for at least a couple of centuries now. Songs being passed down from one generation to the next was nothing particularly unusual at one time. However, as the late Bob Copper point out in his autobiography, their family has been “slower than most to forget them.”

What has also become a tradition over these past fifteen years or so is the Copper Family performing each year in Hastings as part of the Jack In The Green weekend. John Copper tells us that a repertoire of some ninety songs dating back as far as the seventeenth century have been performed and sung and passed down by his family over the generations, with a further ten “more recent” songs added by his father and grandfather in the last century or so. It is from this collection that family draws all their songs that they perform to this day. Traditional staples like Banks of Sweet Primroses and Claudy Banks feature in the set today, just as they have been staples of Copper family sing-alongs for centuries.

The performance is as much a history lesson in rural life, folk-song and family dynamics as it as singing concert, which just goes to make it all the more fascinating, particularly with the insights given by the two older members of the family, John and his sister Jill.

As John Copper stresses, the meticulous way in which these songs have been handed down through the family from one generation to the next provides an authentic glimpse back into seventeenth century life. It is genuinely moving and awe-inspiring to see the family still celebrating those songs today, particularly when they bring some of the youngsters up to join them and we see several generations up on stage together.

No-one in the family is ever pressured to start singing, says Jill Copper, when we chat afterwards. She didn’t start singing in public until she was 27, she tells me, but she is clearly delighted when the children get up to sing alongside her, suggesting that there are likely to be a few more generations of singing Coppers to come.

An intrinsic part of the Jack In The Green festivities in Hastings, if you have not seen a Copper Family performance yet and you have any love at all for traditional music and/or local Sussex history, do make sure you get yourself along for their performance next year.

http://www.thecopperfamily.com/

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Molly Evans & Jack Rutter at St Clement’s Church, Hastings 29/4/17

My review was originally published by the Hastings Online Times here 

Hastings’ annual Jack In The Green is renowned for its May Day parade and its morris dancing but the programme always throws up a handful of good concerts, too, and that is before you even get to the Hastings folk week events in the week that follows.

One of the highlights this year was Molly Evans & Jack Rutter performing in St. Clement’s Church in the old town. Molly Evans is an upcoming traditional singer from Cheshire who has just released a well-received album. Jack Rutter, meanwhile, is one third of folk trio (and one-time Young Folk Award winners) Moore Moss Rutter. Evans and Rutter have been playing together now some two years and Rutter, along with his colleague Archie Churchill Moss, plays on Evans’ album.

Evans has been immersed in traditional song since being carted around folk festivals as a tiny child, she tells us. That love and passion for traditional song shines through, both in her between-song chat and in her singing itself. However, perhaps even more fascinating this evening is her reworking of material from children’s fantasy author and folklorist, Alan Garner, and it is these songs that form the basis of her new album and much of the set tonight. Folklore tales and poems collected by Garner as well as extracts from some of his own novels have been given a new setting and a new life by Evans. We are soon transported into a world of faery kings, hobgoblins, mysterious woods and running hares.

Evans has a strong and distinctive yet really beautiful voice and one of the things I particularly liked is her lovely flat northern vowel sounds. If you are singing about Cheshire farmers’ daughters or gruesome 18th century northern folklore tales you don’t really want to be doing it in BBC English do you?

Rutter, too, is an extremely talented multi-instrumentalist (playing guitar, bouzouki and concertina this evening) and provides wonderfully atmospheric musical accompaniment to Evans’ vocals. There is also something rather special about performing material of this type in a beautiful cavernous old church. When Rutter puts his guitar down and picks up his accordion the sound from it absolutely fills the building in quite a spectacular way.

For Jack in the Green weekend you could hardly have asked for more suitably evocative material from two really talented performers.

https://www.facebook.com/MollyEvansMusic/

Evans Rutter Hastings

Related review:

Moore Moss Rutter at Cecil Sharp House

Green Diesel at The Albion, Hastings 8/4/17

My review was originally published by the Hastings Online Times here 

With their lively, infectious brand of folk rock, Faversham-based band Green Diesel seem tailor-made for the Hastings old town music scene. Surprisingly, following a gig at the Jenny Lind several years ago, it’s only their second appearance in the town. As soon as they take the stage, however, the Albion crowd take to them like old friends, bopping, hollering and generally having a whale of a time.

There have been many variants of the melding between folk music and rock music over the years, including the indie-infused stylings of The Levellers and the raucous folk-punk of Hastings’ own Matilda’s Scoundrels. Green Diesel, however, take their musical cues from that classic era of folk rock, back in the late 60s and early 70s when bands like Fairport Convention, Steeleye Span and the incredible String Band began making their mark. Everything you would want to hear from those halcyon days of folk rock is there in Green Diesel: lovely lead vocals from Ellen Care, beautifully melodic fiddle and accordion, loud pumping bass, hard rocking guitar and drumming that instantly gets you up and moving to the beat.

They are no mere tribute though. Having just released their third album ‘The Hangman’s Fee’ in February, for several years now they have now been applying their signature trademark sound to inventive reworkings of traditional songs and tunes as well as their own material.

Guitarist, Greg Ireland, is proving to be a very talented and capable songwriter – with songs like The Elephant Tree and To Kill The King going down extremely well, in addition to traditional favourites like Mad Tom Of Bedlam and Matty Groves. Ireland also takes lead vocals on a few numbers like the band’s feisty interpretation of The White Hare. Again, that nice contrasting mix of male and female lead vocals instantly puts you in mind of that classic era of folk rock.

Green Diesel are a hugely entertaining live band whose three albums to date have shown real musical maturity. Let’s hope they don’t leave it too long before they make another visit to Hastings. If the Albion crowd is anything to go by they have a ready-made fan-base here.

http://greendieselfolk.com/

Ellen Lying Down

Previous reviews:

Green Diesel album review – Wayfarers All
Green Diesel at Lewisham 2016

Peter Knight’s Gigspanner at The Stables, Hastings 22/3/17

My was review was originally published by the Hastings Online Times here

Peter Knight will be known to many as fiddle supremo for folk rockers, Steeleye Span, over four decades. The Gigspanner trio initially began as a side project of Knight’s but he left Steeleye Span for good in 2013 to concentrate fully on Gigspanner. While there are numerous cases of artists carrying on doing exactly the same old thing as they’ve always done in a brand new band with a similar sounding name, this is far from the case with Gigspanner. Of course, Knight’s virtuoso fiddle playing is still at the heart of Gigspanner’s sound; but rather than the typical ingredients of the classic folk-rock band, Gigspanner is a complete melting pot of musical influences: English folk meets Cajun hoe-down meets French waltzes meets Latin-American drumming and much more besides. All of it producing a magically diverse texture of sounds that is awe-inspiring and utterly enthralling.

The band has performed at the old town’s Stables Theatre on a number of occasions now and seasoned Gigspanner followers will have immediately noticed a change as soon as they walked into the auditorium and seen a different percussion set-up as they glanced towards the stage. Indeed, conga drummer Vincent Salzfaas who had been with the band since its formation recently departed due to changes in his personal circumstances and he’s been replaced by Sasha Trochet. Salzfaas’s congas were such an integral part of the unique Gigspanner sound I was wondering what impact the new arrangements would have. Fans of the trio have nothing to fear. While Trochet introduces a much more varied selection of percussion instruments the essential ingredients of the Gigspanner sound are still there and are added to, rather than diluted.

The band have strong Hastings connections, of course. Knight was resident here for many years and a familiar figure in music pubs around the town. Guitarist, Roger Flack, is Hastings-based and also plays with local band The Tabs, as well as being a regular participant in folk sessions in the Dolphin. A Hastings gig, therefore, always has something of a home-coming feel for the trio, particularly as a number of the band’s songs are directly inspired by the town. ‘Seagull’, for example, one of the songs written by Knight that is performed tonight, was inspired by regular sessions of shove ha’penny in the Lord Nelson. It’s also noteworthy for being one of the songs that Knight plays the fiddle, not with a bow, but by plucking. Just as the fiddle supremo produces a whole range of beautiful sounds using his bow, there’s a whole set of other sonic delights that come from his fingers, too. Other songs include traditional folk staples like ‘She Moves Through The Fair’ and ‘Raggle Taggle Gypsy’ reworked to give them that unique signature Gigspanner feel.

As the evening draws to a close, once again the Stables audience respond with rapturous applause and once again, Hastings can be immensely proud of a music scene that has played a part in gifting the world a band of this calibre.

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http://www.gigspanner.com/