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Live Review: Us Vs. Them curated by Field Music at Leeds Brudenell Social Club – 2nd December 2017

By on Wednesday, 6th December 2017 at 2:00 pm

The Brudenell Social Club in Leeds is one of those mythical places that you have likely heard of due to its connection to Wakefield’s finest the Cribs. But unless you live in Yorkshire and/or have attended Live at Leeds over the years, you’ve probably never visited the place. That’s the boat I was in until last Saturday, when for a second year running the venue, in coordination with Futuresound Events, put on a Us Vs. Them festival showcase curated by the most prolific musicians of the North East, Field Music. (Last year’s was curated by Welsh band Los Campesinos!) TGTF have been long-time supporters of the Brewises and since it so happened I was in the vicinity of Leeds (er, sort of…it’s a long story, ha) and the lineup was indeed pretty amazing, I thought it was my editor duty to stop in.

The Cornshed Sisters (Tyne and Wear)
They’re folky, they’re poppy and they have connections to Field Music, which make them a convenient addition to this evening’s bill. The ukulele-playing Jennie Brewis is Peter Brewis’ wife, and Liz Corney plays keyboards and sings backup in Field Music. As you might expect for women from the North East, they are women with minds of their own and they have wit, judging from jokes about their live drummer Ian Black, who fronts his own band SLUG (keep on reading this review), and a dinosaur. I won’t spoil the latter for you, you can ask them yourselves when you see them live; it’s toilet humour, but remarkably high-brow toilet humour.

The Cornshed Sisters Us vs Them 2

Anyway, right, back to the music. I arrived at the Community Room after they’d already begun, a crowd listening to them in rapt attention. Their second album ‘Honey and Tar’, was released in early November, and is filled with catchy tunes and important meaning. ‘Jobs for the Boys’ was introduced as “one of the misogynists”; its peerless four-part harmonies superbly infectious for reasonably weight subject matter. The mostly a cappella ‘Sunday Best / Small Spaces’ is a welcome treat, its second half led by Jennie Brewis conveying something so simple – being in close confines with a loved one – beautifully. It always feels odd to me to hear Americana folk somewhere outside of my country, but the Cornshed Sisters do it so well.

SLUG (Sunderland)
Inside one Mr. Ian Black of Sunderland lives a truly depraved mind. Who else would come up with a song entitled ‘Cockeyed Rabbit Wrapped in Plastic’? But let’s leave that gem for a moment. The far more important thing to note about Black and his band is their commitment to rock, rocking out and doing so in a way that is off the wall mad. And it’s absolutely brilliant. Whether it had to do with him throwing off his glasses and running to the Main Stage like the crazy ginger he is, or if he was just having a bad night, guitar problems delayed SLUG’s set.

SLUG Us vs Them 1

In exchange for the delay, his drummer played a pretty rad solo with funny interjections about the location of the cowbell in his kit while Black was stuck trying to tune several different guitars. When the boho-looking band finally got started, a good chunk of their playing time had already evaporated, leaving the group to play out their set with‘Cockeyed Rabbit…’ and the sleazy, percussion-driven ‘Greasy Mind’ and ‘Running to Get Past Your Heart’. (Seriously, how has a SLUG song *not* managed to appear on a Wes Anderson film yet?) The best I can do is to describe them as a certain sweet convergence of pomposity, squealing guitars and buzzy percussion. If you know anything about Field Music and their North East friends, they are unpredictable and don’t do anything linearly. And just as I saw at The Great Escape 2015, SLUG’s music is always fantastic.

Emma Pollock (Glasgow)

Emma Pollock Us vs Them 2

Ex-Delgados Emma Pollock has a funny story about being invited to perform at this festival. She explained she herself had curated an event to celebrate Kate Bush and that the Brewis brothers attended the event when it was being put on in Glasgow this past spring. Great minds and all that, eh? Performing only with her voice and guitar and accompanied by a keyboardist, her performance was a stark contrast to the boisterousness of the Cornshed Sisters earlier. Lights of red and blue swathed Pollock in an eerie glow, her voice strong, yet haunting, providing the most wintry-feeling set I saw all night.

C Duncan (Glasgow)
A month prior to this, I saw C Duncan open as a one-man act for Elbow at the 9:30 Club and was already wowed with what he could do solo. Here, finally, was my big chance to see Chris Duncan with a full band. As you might expect, the bigger setup leads to a far more robust and exciting sound than is achievable with a one-man band, even with a laptop and synths available at a touch of a button.

C Duncan Us vs Them 1

This is probably most obvious with the joining of three male voices in perfect harmonies on ‘Say’ and ‘Like You Do’. While an appreciation of choral music is of course not a prerequisite to liking C Duncan’s music, having witnessed evensong the evening before at York Minster was a good reminder of Duncan’s achievements recording and tweaking versions of his own voice for an ethereal choir sound on record, as well as organizing the live performance of his music. The innocent, dreamlike qualities of ‘Do I Hear’ from his second album ‘The Midnight Sun’ come through on the oozy, woozy lyrics, as Duncan waxes philosophical on the early halcyon days of a relationship. Ever fallen in love? This song, like many of C Duncan’s orchestrations, makes your heart swell. It’s wonderful to be invited into this special world, with a sweeping grandeur you can be a part of. It makes me want to stretch my arms out and throw them around, er…Paris?

Warm Digits (Newcastle)
Time for something heart pumping and in a different way. North East duo Warm Digits, fine purveyors of wonky dance beats, with the guest vocals of such luminaries at Saint Etienne’s Sarah Cracknell on ‘Growth of Raindrops’ and Field Music themselves. They were exactly what the doctor ordered on a chilly night in Leeds, turning the Community Room at the Brudenell into a Berlin discotheque. By the time I arrived, the room was packed and I wasn’t going to push my way to the front. People weren’t exactly bumping and grinding to their music at the back; more heads appeared to be craning to see the projections of cartoony images and splashy big words in bold colours behind the pair. Hopefully there was more actual action down the front?

Dutch Uncles (Manchester via Marple)

Dutch Uncles Us vs Them 1

Now on to the prolific group from the other side of the Pennines, Dutch Uncles. Songwriter Robin Richards just keeps going like the Energizer Bunny, having scored a documentary on the Chernobyl disaster-ravaged city of Pripyat last year and spent time in Caernarfon, Wales in an artist residency there. The band themselves released their fifth album early this year, ‘Big Balloon’, so they’ve got plenty to pick and choose from in their back catalogue. The bubblegummy ‘Oh Yeah’ might suggest this LP is their most accessible yet.

But not to worry, there are still plenty of weird time signatures and bops in all directions on ‘Hiccup’, impressively aggressive live. They pulled out the frenetic ‘Flexxin’ from 2011’s ‘Out of Touch in the Wild’, and it sounded as good as it did way back then. The Main Stage floor was packed out again, no doubt by people who had seen Dutch Uncles loads of times before and were eating up Duncan Wallis’ amusing stage patter and what appeared to be drummer Andy Proudfoot’s smashing impromptu rendition of Semisonic’s ‘Secret Smile’. Something tells me a good number of these folks saw them at Leeds Town Hall at Live at Leeds 2015 (I didn’t; you can thank the Cribs for that).

To conclude…
Annoyingly, in order to catch a train and to rest a wonky, swollen foot that I must have twisted the day before in York, I entirely missed Field Music’s own set. The one comfort I have, and you should have too, if you were not present Saturday night, is that the band from Sunderland have UK tour dates in March and May 2018, so you’ve got your chance in the new year. In case you have been living under a rock, they recently revealed ‘Count It Up’, the first taster to seventh album ‘Open Here’ due out the 9th of February 2018 on Memphis Industries, and you can bop your head to the highly political, supposedly ‘Material Girl’-inspired track below.

All in all, who I did manage to see at the Field Music-curated Us vs. Them in Leeds were great, excellently showcasing some of the best acts, new and old, from the North of England and Scotland. I hope the Brudenell and Futuresound Events continue this annual tradition. Really, who better is there to put together a festival but musicians who actively listen to other musicians and can choose prudently a lineup that their own fans would love to see? For more photos from the festival, visit my Flicker.


Interview: C Duncan (Part 2)

By on Tuesday, 7th November 2017 at 11:00 am

To read the first half of my interview with C Duncan in Washington, DC, last Saturday night, use this link.

It has been well documented that C Duncan’s second album ‘The Midnight Sun’, released in 2016, was named after an episode of The Twilight Zone, an American tv show that got its start way back in the 1950s. I had guessed that he had stumbled upon it on late night Glaswegian telly, but that wasn’t the case at all. “Actually, no. It was actually the first time I ever came to America. I was about 13, I was with my best friend from school. His dad worked in Manhattan and had an apartment there, so he flew us out there, and then we went to Florida and stayed at Disney [World] and went to Universal. We’d been on the Tower of Terror. The ride’s great, but I was so intrigued with the whole history surrounding it. Just walking into the hotel, there’s a weird feeling you get once you’re there, and it’s all a bit disorientating. I just had to check the show out. I got the DVDs and went home. I have since become completely obsessed. I’m a big sci-fi, horror fan.”

Following on from a thematically suspenseful album, I ask him if that means he’s headed for a horror-themed album next. “‘C Duncan scores The Exorcist’? No…”, he replies with a laugh. Speaking of scores, he has been asked to do the score for a documentary next year. As I’m not sure if that project has been absolutely confirmed, I’ll keep the details of it to myself. Let’s just say for now that if the project does come to fruition, it’ll be another example of how the community in Glasgow takes care of its own.

I comment that he seems to be a prolific writer, releasing albums in back-to-back years. He says he tries to write every day and when that doesn’t work out, “the way I see it, if I’ve got block, you might as be well be working on your technique, you can get slightly better recording vocals, or getting slightly better working on your chords, and hopefully something good will come out of that.” Both this optimism and attention to detail are personality traits that seem to be shared amongst all the electronic artists I’ve met and interviewed over the years, including most recently Australian producer Willaris K.

Duncan admits that it wasn’t his idea to release album #2 so closely behind the first, so we might have to wait a bit longer for album #3 to surface. I have no doubt that it will be worth the wait, as everything this Scot does comes after some deep rumination. “After the Mercury thing, there wasn’t pressure for me to make another album like that, just like the first record. Of course, in the back of your mind, you think, okay, something works in that one, so why not take elements of that and upgrade it? But actually, about 5 minutes of thinking about that, I was like, fuck it. I really wanted to do something electronic and something bigger sounding as well.

“I love great, big, lush-sounding harmonies, and with synthesisers, you can get that sweeping sound. If I had a string orchestra, I would have used a string orchestra, but I didn’t have one. So I thought, a synth can do the same thing, but in a different way. Then there was The Twilight Zone influence, I liked how icy a lot of the synth sounds were, mixed with the big choral harmonies. Once I started playing around with the synths, yeah, I have to do this.” For a further example of this, check out the video for ‘Wanted to Want It Too’ below, with a nod to the creepiness of the tv show as the song itself is punctuated with stabs of synth.

In addition to his musical gifts to us, Chris is also a talented painter, chronicled beautifully in a short film by Helen Plumb and Ben Cox for Nowness. In case you hadn’t heard, the album art for both ‘Architect’ and ‘The Midnight Sun’ are his personal works. Both have great personal significance, circling back to his connection with Glasgow and his creative environment. “I did both records in my apartment. The first record, I was very conscious of where I was when I was making the record. A lot of the album has to do with escaping, in a way. Glasgow can be very bleak at times. It’s an industrial city: it’s a very beautiful industrial city, but it’s very grey and very cold. And it rains an awful lot. Our summer consists of about 2 days in May.

“I think it’s a great thing, that’s why we’re so creative, we’re indoors all the time, you know? I was very aware of where I was, so the first record has the overview of one of the main streets in Glasgow I spent a lot of time on (Byres Road, in the West End). The first record was very personal, but it was quite obscured. You can’t really hear what I’m singing a lot of the time. It was a confidence thing. I thought, okay, I’ll make music and hopefully people will listen to that and not focus too much on the words. And if they hear them, that’s great, but I sort of muffled them slightly.

The Midnight Sun large cover

“On the second record, you can hear the lyrics more and it wasn’t gibberish like the first record. And I thought, okay, so I recorded this again in my bedroom, and into another bedroom in the flat, and I’m going to make the front cover [of ‘The Midnight Sun’] the stairwell to my apartment. It’s all very geographical, location based, because where I work means a lot to me.” Although the process of music making eats up most of his time these days, Chris admits he’s “stubborn” and makes an effort every few months to paint something significant “to keep my technique up”. Sensing a theme here? I hope so. Young artists, take note. As the old American saying goes, “How you get to Carnegie Hall? Practice, practice, practice!”

C Duncan is an artist who puts in 110 percent into everything that he does. It’s paid off, in the forms of a Mercury Prize nomination, the admiration and appreciation by a massive band like Elbow who has taken him on tour in the UK and North America, plus countless fans being inspired and moved by his music. He’s the kind of artist who will continue making music his way, and I for one looking forward to the many musical chapters of C Duncan still yet to come.

Massive thanks to Chris for his time for this interview and his unexpected, but much appreciated vocal support for TGTF (!) at the Elbow show Saturday night at the 9:30. Thank you also to Rey and Sam for making this happen. He performs tonight alongside Elbow on their North American tour at Detroit’s St. Andrews Hall. Sounds appropriate for a Scottish artist, doesn’t it? Much more on C Duncan here on TGTF is follow us over here.


Live Review: Elbow with C Duncan at 9:30 Club, Washington, DC – 4th November 2017

By on Monday, 6th November 2017 at 2:00 pm

Elder statesmen of rock Elbow are no strangers to DC, reliably appearing in the Nation’s Capital whenever they decide to do a tour on this side of the pond. There are many reasons for their love for Washington, some more literal if you ever get the chance to ask them personally, which I encourage you to do so, as they are some of the sweetest people you will ever meet. At their sold out show here Saturday night, Guy Garvey’s quip that the reason why the city got its name is because the 9:30 Club is where musicians do their washing – laundering clothes to us Americans – isn’t wrong either. The venue has become legendary among bands for their in-house washing machine, along with their massive hospitality efforts towards those who grace their stage. 9:30-branded chocolate cupcakes, anyone?

I’ve seen Elbow a couple of times now, and ‘reliable’ is a good word to describe their live show. ‘Heartwarming’ is another good adjective for them, on which I’ll expand on later. First, I would like to point out their admirable efforts to prevent the all too frequent scourge at shows: the loud and impolite conversations that take place during support sets. In addition to this sign placed prominently near the entrance of the venue, Guy Garvey introduced C Duncan himself, appealing passionately to the audience to be quiet and pay attention during his set. No doubt Garvey remembers with much gratitude when fellow Mancunians Doves decided to take a chance, bringing along his then-unknown band to the very same venue 15 years ago.

Except to those like us here on TGTF who keep a watchful eye on things like the Mercury Prize back in the UK, C Duncan is a relative unknown here in North America at the moment. Hopefully, this support slot with Elbow will do much to change that. As you’ll read in my interview feature with him, Duncan has sensed that Elbow fans are a special breed of music fan, the kind who tend to be more open-minded about new sounds than most. If this show had been back in Britain, we would have seen him with a full band, but due to prohibitive visa costs (thanks, powers that be in America), he performed alone on the big 9:30 stage.

C Duncan Washington 2017 2

C Duncan offered up songs from his Mercury-fêted 2015 debut album ‘Architect’ and last year’s electro-driven ‘The Midnight Sun’ and with the aplomb of a seasoned performer. It’s hard to believe that a few years ago, the prospect of having to bring his complex constructions to the stage seemed daunting to him. The beautiful ‘Say’, the opening track on ‘Architect’, was a clear standout, Duncan’s wispy vocals and elegantly understated, yet superbly catchy backing proving to be a beautiful match. The icy, lush electronic orchestration of ‘Wanted to Want It Too’ – a simple, yet evocative study in longing – closed his all-too-short set. To catch up on our past coverage of C Duncan here on TGTF, head here.

What can be said about Elbow that hasn’t been already written? Guy Garvey is the consummate frontman: roly poly like a teddy bear and disarmingly funny, he’s the uncle who doesn’t think twice about discussing the merits of a 9:30 G&T and asking punters to stumble singing along to songs they might not know the lyrics to. And at the same show. Does this have anything to do with him and his band being from Manchester? The worker bee tattoo emblazoned on the inside of this forearm, likely inked following the Manchester Arena terror attack in May, was a silent affirmation of the love for his city.

Elbow Washington 2017 1

It’s the little things like the tattoo and Garvey’s introduction of C Duncan, they’re proof of how genuine Elbow are. So was Garvey’s earnest acknowledgment of Dennis and Lois, a music-loving couple who have been together for decades and the stars of their 2014 video for ‘New York Morning’ who just so happened to be next to me during the show. He dedicated ‘Mirrorball’ from 2008’s ‘The Seldom Seen Kid’ to them and their love, as warm smiles spread from the stage and through the entire venue. As its title suggests, ‘Magnificent (She Says)’, the first single to their most recent album ‘Little Fictions’, was indeed magnificent. Songs that are stirring, soaring and ever tugging at the heartstrings: that’s what Elbow do best. And their fans wouldn’t want it any other way.

Elbow’s North American tour with C Duncan as support rolls on to Toronto’s Danforth Music Hall tonight. The tour will continue until the 18th of November, when they hit Mexico City.

After the cut: C Duncan and Elbow’s set lists from the night.
Continue reading Live Review: Elbow with C Duncan at 9:30 Club, Washington, DC – 4th November 2017


Interview: C Duncan (Part 1)

By on Monday, 6th November 2017 at 11:00 am

On paper, C Duncan – Christopher Duncan on his birth certificate – sounds like someone who might be pretty buttoned up and stoic about music. Born to classical musician parents, having been raised around classical music and having played classical piano since the tender age of 5, I prepared myself to interview someone who was as obsessive about Chopin’s adagios as my own father. “They had quartets, and they would come over to the house. When I was very young, my mum ran a music store from one of our backrooms, for sheet music. So loads of musicians were coming and going [from the house].” But he relates this story as a welcome memory of his childhood, possibly an early measure of comfort he would later have around the musically inclined.

Saturday night, he was in Washington, DC, for a support slot with Elbow at the legendary 9:30 Club. (The review of the show will post today at 2 PM BST.) I happily found out, stealing him away for a lovely chat before the show, that his journey from childhood to the musician he is today was never forcefully directed one way or another. His delight in making the music that appeals to his own interests and makes sense in his mind is obvious and infectious. The open-mindedness of his parents and even his teachers during his formative years helps to further explain how his creativity blossomed into developing something much his very own. He has honed what has now become his recognisable blend of startling beautiful composition and harmonising vocals with plenty of toe-tapping pop sensibility, such a beguiling blend that both music lovers and the critics have taken notice of.

Pop was something he’d embraced early on. “I did the typical kid thing and listened to pop music. I kind of had that rebellious thing against classical music, which was good, because it meant I could expand my interests. As I got older, I started realising that my parents were right, that classical music is good as well!” He also credits his professors at the Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of Scotland), where he graduated with a degree in Composition, for not keeping the focus of his studies squarely on classical music, which he disclosed is an all too common occurrence at other music schools in the UK. “I was always encouraged to listen to pop music. All the composing teachers were interested in what was happening in pop music, and they were very influenced by it as well…they basically said [to us], ‘obviously, this is a contemporary classical course you’re taking. But listen to everything, get inspired by everything, do anything you want. It’s valid as music’… There wasn’t anything stuffy about it.” For more on his schooling at the Conservatoire, I dug up this interview he did with them earlier this year.

The Scottish city that Chris calls home also looms large in the C Duncan story, and in a similarly accepting way, feeling like a warm, welcoming tartan blanket that’s there to make everything okay. “Glasgow is a very open place for genre crossing. Everyone is interested in everything…In Glasgow, everyone knows a musician, or someone who’s in a band, or all your friends are in bands. And everyone talks about music and listens to each other’s music a lot. No-one is in competition with each other, for anything, which means it opens the door for people to try all sorts of different things.

“Glasgow is quite far away from the rest of the UK, we’re very far from London. I think as a result, we don’t really have anything to live up to. Glasgow can do its own thing entirely, which is really cool, and the sense of community [there] is really important. That’s how you meet [other] musicians, I would never start a band and get session musicians in from the get-go. Maybe later on when you needed more people. I like to have friends surrounding me.

“In Glasgow, you get to know so many musicians, and you become friends first. That’s really important. I like that in Glasgow, you’re in it together, you’re not by yourself, you’re in it to make music with other friends…it’s a very natural thing in Glasgow… So many people collaborate in Glasgow, I did a thing with a woman named Kathryn Joseph, you should definitely check her out.” If Joseph’s name sounds familiar: she won the Scottish Album of the Year (SAY) Award in 2015 for ‘Bones You Have Thrown Me, And Blood I’ve Spilled’, the same award Duncan was nominated for the following year for his FatCat Records debut and Mercury Prize-nominated ‘Architect’. She and Duncan have also been tourmates, continuing the theme that Glasgow nurtures such relationships. Duncan also clues me on a close friend from back home having recently joined Franz Ferdinand, Julian Corrie, who also releases electronic music as producer Miaoux Miaoux. Glasgow is certainly proving to be a small world.

Naturally, the conversation turns to the Mercury nomination for ‘Architect’ 2 years ago. “It was very strange”, Chris says with a knowing smile. “Up to that point, we’d done lots of gigs, very small, just establishing ourselves. We had a lot of help from the BBC radio stations. That was great. But it takes a lot more than that to push things forward a lot. After that [the nomination] happened, it was just phone call after phone call, interview after interview. I was self-managed at the time, so I was trying to make do with all of that. It was great fun, but it was hectic!”

The nod turned out to be a fantasy come true for him: “I’ve always thought very highly of it. It’s becoming slightly less diverse at the moment, but I think they’re trying to branch out [in the genres]. I was always really interested in it as a kid. It [being nominated] was very surreal and really exciting… It’s been interesting, the shows we did around that time and after, the Mercury came up quite a lot. It’s real music lovers who really hone into the Mercury [shortlist]. It’s really nice, it’s any musician’s dream to appeal to true music lovers, as opposed to people who shove it on in the background. It just shows how highly people in Britain still think of music, it doesn’t matter how shit the charts are, there’s a big population really interested in music, people who are interested in that other side of music.”

It’s exactly these kind of music fans that Duncan thinks are making his support appearances with Elbow, especially here in North America, super successful. “Playing to their crowds, it’s been really fun. As the support act, generally, the pressure’s off you… Sometimes I’m very nervous, but the majority of the time, I’m just having fun, trying to give people a fun show, and something representative of my music. I know it’s not exactly the same as Elbow’s, but it’s gentle enough, and their music is gentle enough to sit well together at a gig. Some people might think, ‘ooh, that first guy was a bit weird, I’m here for Elbow, this is going to be great’, whereas some people, it’s ‘oh, actually, that’s really cool’. I think there is some crossover, and it’s been a great way to pick up fans… Elbow fans, they generally are really into music. They are music lovers, they’re not background music people, which means they want to see the whole show. That’s what I do. If I see one of my favourite bands are playing, I always go in the beginning to see who’s supporting.” A good reminder to all.

Stay tuned for part 2 of this interview with C Duncan, posting at the same time tomorrow. He performs tonight alongside Elbow on their North American tour at Toronto’s Danforth Music Hall. Much more on C Duncan here on TGTF is through here.


C Duncan / January, February and May 2017 UK/Irish Tour

By on Wednesday, 11th January 2017 at 9:00 am

C Duncan, aka Scottish electronic singer/songwriter and bedroom producer Christopher Duncan, released his second album ‘The Midnight Sun’ back in October. I reviewed it back here last autumn. Naturally, he’s got a whole slew of live dates to celebrate and support his latest amazing work. Previously, he announced a January and February 2017 UK tour; all these dates are listed first below. Duncan will also be busy in March: he has been announced as the primary support act during Elbow‘s UK tour that month.

As if he wasn’t clocking up the miles in the UK enough with his previously announced shows, he has also added another group of live dates in May, starting with three shows in Ireland, followed by additional dates in the UK. Phew. These new dates just revealed are listed below as well. The newest May shows go on sale this Friday, the 13th of May. Really, you don’t have an excuse not to see C Duncan live! ‘The Midnight Sun’ is now available from FatCat Records. For more on Duncan’s music on TGTF, use this link.

Monday 23rd January 2017 – Inverness Eden Court Theatre
Tuesday 24th January 2017 – Edinburgh Sneaky Pete’s (sold out)
Thursday 26th January 2017 – Glasgow Saint Luke’s (Celtic Connections)
Friday 27th January 2017 – Newcastle Cluny
Saturday 28th January 2017 – Liverpool Academy 2
Sunday 29th January 2017 – Oxford Bullingdon
Tuesday 31st January 2017 – Brighton Komedia
Wednesday 1st February 2017 – Bristol Thekla
Thursday 2nd February 2017 – Norwich Arts Club
Friday 3rd February 2017 – Leeds Wardrobe
Saturday 4th February 2017 – Nottingham Bodega Social Club
Thursday 4th May 2017 – Cork Cyprus Avenue – on sale 9 AM on 13/1
Friday 5th May 2017 – Limerick Dolans – on sale 9 AM on 13/1
Saturday 6th May 2017 – Dublin Whelan’s – on sale 9 AM on 13/1
Monday 8th May 2017 – Birmingham Hare and Hounds – on sale 9 AM on 13/1
Tuesday 9th May 2017 – Cardiff Clwb Ifor Bach – on sale 9 AM on 13/1
Wednesday 10th May 2017 – London Islington Assembly Hall – on sale 9 AM on 13/1
Friday 12th May 2017 – Manchester Band on the Wall – on sale 9 AM on 13/1
Saturday 13th May 2017 – Sheffield Leadmill – on sale 9 AM on 13/1
Sunday 14th May 2017 – Edinburgh Caves – on sale 9 AM on 13/1


Video of the Moment #2244: C Duncan

By on Wednesday, 14th December 2016 at 6:00 pm

C Duncan released his second album, the follow-up to his 2015 debut album, the Mercury Prize-nominated ‘Architect’. ‘The Midnight Sun’, Scottish multi-instrumentalist and bedroom producer Christopher Duncan’s ode to the wintry darkness, came out in October on FatCat Records. ‘Other Side’ is one of the most beautiful tracks on the new LP, because it has both haunting and euphoric halves to the whole. Directed by Helen Plumb, the music video stars Brighton-based visual artist Rondi Park experimenting with various media. Watch the promo video below. To read my review of ‘The Midnight Sun’, check it out here. For more of TGTF’s coverage of C Duncan, follow this link.



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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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