Realisation.
There's something incredibly reasuring about being around like-minded people, who make beautiful, serious music. In a summery Austin, at night. In a bar. On stage. Dancing to A-ha. Grinning.

Buckley.
So I was recently asked if I would like to submit a cover version of any track by either of the Buckleys, Tim or Jeff, for an upcoming release called Dream Brother. Naturally I agreed straight away, not quite realising what I had done. I immediately started thinking of Tim Buckley songs - I thought I'd score a couple of cool points in my knowledge of the less popular of the two. I thought maybe I could do a great cosmic version of Chase the Blues Away, or maybe try to take Song to the Siren (my favourite Tim Buckley track), and extend the story of the track beyond the brilliant This Mortal Coil version. But then I began to wonder whether I was doing the right thing. I had listened to Jeff Buckley a lot when I was younger, before I knew that his father existed and as such I had the greatest connection with Grace and all that followed. Was I being fake by going for the 'cooler' option? I was forced in the right direction by the record company, who called to request that I do a Jeff Buckley track. I felt secretly relieved at first - I knew that that was the right choice. Then it dawned on me - I was about to try to cover a Jeff Buckley track. If you think about the production, his musical prowess and of course THAT voice, it becomes a little worrying, and then there is the intense emotional attachments that millions of people have made to his tracks. It suddenly became a hugely daunting task. I decided I definitely wanted a song written by Jeff Buckley - although a lot of his best work was made when covering other peoples songs, I thought it would be best to do a version of a completely original track. I decided that a less well known track would relieve some of the intense pressure of providing for the fans. There is a gorgeous track called 'Jewel Box' which is found toward the end of the second cd of Sketches... I started work and it was sounding good, but that feeling crept over me again. I asked myself: Which of all these tracks means most to you. Which track would you like to do, no holds barred. Once I had voiced this question, (which sounds obvious but wasn't), I knew I had to try to cover Mojo Pin.
I tried so many different ways of making the track work with my production, my sounds, my voice. I made versions with strange instruments played together in weird ways. I made versions with layered voices being the music. I made all sorts of things yet I found myself going back to a little demo I did at the very beginning of attempting this song, just one mike recording a live take of me playing guitar and singing the track. It was made just to test out the format and the pitch and whatnot. But there was something about it. Something honest and heartfelt and even passionate (! - unusual for me, eh?), that felt like it worked with the song just right. There were mistakes peppered throughout it - a wrong note here, a bit of bad singing there, but overall it just clicked for me. I decided to submit that version, warts and all. It sounds like a demo, or an outtake, but I feel it rests easy with Jeff Buckley's attitude and approach to playing and working with music.
I don't know who else has been invited to play on this record or when it is due for release. I shall definitely let you know as soon as you can hear it. I hope that it does justice to an incredible musician, who's memory many hold dear, and who's music continues to inspire.

Homefires.
Well, what can I say? I am still wide-eyed and grinning from the week-end. Both days were just right. Much better than anyone had hoped. The acts flowed happily into each other, with not a single act performing anything less than a brilliant set. The Conway Hall did us all proud - It's oak surrounds (with the addition of John and Helen's chairs and lamps) warmed the environment perfectly. It was a perfect size, providing smaller acts with a venue larger than they would normally be able to play whilst providing an intimate setting for fans to enjoy the bigger acts in a venue much smaller than they would be expected to play. A huge thankyou needs to be sent to Dave McDonald who chose and set up the PA and was responsible for the live sound in the Hall. It has tricksy acoustics, and before we began I was a little concerned, but I needn't have been. Dave made the place sound like it was designed for the event. I had an incredible time. I kept looking around at the audience and felt a sort of paternal pride as I watched them drawn in and entranced by the acts performing. Highlights are too numerous to note . Possibly the only thing missing was food, as a couple of people mentioned, and this we will take into account for the next one. The next one! - It was never meant to be anything but a one off, but it was sooo good, and everyone who spoke to me during and after asked nicely, cajoled, threatened and demanded that it take place again next year.
Radio1 recorded the whole thing and are planning to broadcast it on the Mary Ann Hobbs Show in the near future - I'll let you know when it is. It was also filmed, so in fifty years time they can see where it all started...
What struck me most about the two days was the atmosphere - everyone seemed genuinely happy to have been there at that time, being part of the event. Everyone was enjoying themselves, together. It was a very special occasion, and I'm sure that all who attended would agree that there was something truly magical going on. It's the sort of show I would have loved to have gone to. Exactly as I had hoped it would turn out.
So thankyou all who helped, all who played and especially all who came, for making it one of the best two days I can remember.

Busy.
Again, apologies to you all - I've been away too long. It's very late, and I have a storming headache coming on, so no doubt I'm going to ramble a bit, but I have to put in an entry as it's been so long. I've been doing so much stuff that I've had to neglect a couple of things. Been getting threatening messages and ferocious e-mails from friends (soon ex- if I'm not better with my time...). I've had an amazing time recently. The shows I've played, the places I've been. Wonderful people, exciting roadtrips, crazy technical nightmares and 'character' vans... all amazing. But I could really do with some time off. I have had very little time off since the end of May, days where I only spend a couple of hours doing a bit of paperwork and work emailing. I feel guilty for wanting a break. I would never have believed that I would fancy taking some time away from this music. But I do. I have amazing management who take so much of the work, but still I find myself a little overwhelmed at times. I guess it's because I am a bit of an obsessive, a control freak. And why not - you wouldn't expect a mother to let someone take their baby without knowing where and to do what, so why expect that of me? Am I getting over protective? Where was I? Tired, oh yes. I wish more than anything that I had time to play some instruments and write some songs. I miss that almost as much as I miss my friends, to be honest. So, good news for me - I have some lovely big swathes of time coming up. I'm very excited. I'm playing mainly weekend/festival shows, leaving me lush and verdant pastures during the week. Mmmm. Spaces to fill. I'm certain that after two days I'll get itchy and not be able to keep myself away. Always the way, isn't it?

Two-piece.
I have recently come back from Brussels, having played with Sun Kil Moon. I have another show with them and a whole support tour with The Divine Comedy coming up. For all these gigs, it has been requested that I perform with a maximum of two people onstage, me and one other. The show in Brussels went very well. The arrangements work wonderfully and I feel that I can represent the music well, in an intimate, stripped down way, that brings out other aspects of the songs than the normal live set up or the record does. What frustrates me is the fact that I'd like to do intimate shows as an interesting step further, and not for the first time that many people will be seeing me. I have a fantastic live band who've been working super hard to get the show just right. It seems a shame not to be able to perform this.
What I don't understand is: why the limit? I know that both bands are performing quiet sets and so perhaps they don't want to be drowned out by the noise made by a bigger band, but Hella is a two piece and they make a racket. The full Adem band doesn't have a drum kit or any amplifiers. I can't imagine that adding a double bass is really going to make a huge difference to proceedings from their point of view.
It certainly can't be anything to do with performance - they are headlining, playing to their audience who will hopefully be polite enough to listen to my stuff, but are really quite indifferent to whether I play or not. There can be no fear of being upstaged by a band of any size, because most of the audience have come to see one band only.
Maybe it's to do with set up and sound check times, but we set up pretty sharpish, and with the two piece show at the moment we play six different instruments and have two vocals, which is pretty similar to a normal band set up...
It certainly isn't money, because we get paid the same amount, no matter how many players there are (poor polyphonic spree).
It's not a problem. It was made very clear from the start that a two-piece was required, could we do it? And I said yes, of course, and it works really well as a two-piece performance, but it is a shame that we cannot do the full band show now, and do the intimate shows later, for people who already know what the music is like.
I have asked why, but no-one has given me a straight reply yet. I will carry on asking and let you know when I find out. It's a strange trend which is becoming more and more apparent in quieter shows. I hope this doesn't become normal as a lot of people will make decisions about bands that are not based on the fuller picture. I think that that would be a shame.