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SXSW 2018 Interview: Harry Pane

By on Wednesday, 18th July 2018 at 11:00 am

My final interview of the SXSW 2018 music festival was with English singer/songwriter Harry Pane, who played a mellow late Saturday afternoon showcase at the Hilton Austin hotel’s Cannon and Bell Lounge as part of SXSW’s Second Play Stage series. Pane played a relaxed set in this acoustic setting and even engaged in some friendly banter with the intimate crowd between songs, which encouraged me to approach him for a quick chat after he finished playing.

Harry Pane internal

This performance at The Hilton marked Pane’s final show of SXSW 2018, and he seemed happy to take time for an interview after a busy week of gigging in Austin. “I did six [shows], overall. But they were kind of stretched out enough that it was enjoyable instead of just, like, an endurance test.” His shows included an official showcase at Stephen F’s Bar, as well as a set at one of my favourite Austin venues, The Tiniest Bar in Texas, and a radio performance for KSGR, where he peformed alongside fellow English songwriter and TGTF alum Frank Turner. “I [had done] a songwriting workshop with him and his band, who are really, really nice people”, Pane said of Turner. “He was on the KGSR show too, and he very kindly mentioned my name and gave me a shout out, which was really good.”

This year was not Pane’s first experience at SXSW. He played the festival once before, back in 2016, and that experience allowed him to come into SXSW 2018 with clearer expectations. “I kind of went in blind to that one, and I had one showcase. Didn’t really know what it was about or what I was doing”, Pane remembers. “This time around, two years later, I’ve done a few more things, worked a little harder. I feel this one’s been way more beneficial, and a lot more fun, actually.”

As a fully independent artist, Pane appeared in Austin without a band or entourage in tow, which made the small Second Stage venues a near-perfect fit for him. “I have a double bass player at home, and I’m trying to sort of slowly build a band, put it together. But at the moment it’s just me, on my own.” When I asked about label support, Pane demurred. “I’m not in a position to even talk about labels. I’m with AWAL, who are an amazing support for independent musicians.” AWAL is billed as “Kobalt‘s unique alternative to the traditional music label”, offering services to independent musicians who want to maintain control and flexibility. Pane continued, again very frankly, “If it came to the crunch, I do think that they would look after you way more and take less money off you.”

We also talked about the unique challenges of recording music as an independent artist, and Pane discussed them candidly in terms of his own current experience. “My last EPs that I did, I recorded with Dani Castelar, who worked with Paolo Nutini and other people that I really like.” He laughed, “I’m name-dropping now . . . But it’s really good, because we’ve got a really good friendship now, and I’ve got this kind of understanding with him where I record with a guy in London, on a cheap rate, and I send my stuff over to him, and he mixes it. He tweaks it and polishes it. This is a way I can afford it at the moment.”

Releasing singles, rather than full albums or even EPs, is Pane’s current way of keeping his name and his music afloat in the vast milieu of singer/songwriters. “At the moment I’m feeling like that’s working more, at my stage, to release song by song. I released the EP last year, [‘The Wild Winds’] and it was beneficial for the single, the leading song of that, but the other songs kind of got wasted within that EP, they got sort of lost.”

At the time of this interview, Pane had freshly released a new single called ‘Beautiful Life’. When I asked about forthcoming releases, Pane confessed, “I’ve got some songs in the pipeline, but nothing quite ready yet.” However, he has been keeping busy in the interim. This Friday, the 20th of July, Pane will release a new single titled ‘MacArthur Park’. While no preview of the track is yet available, you can pre-save ‘MacArthur Park’ on Spotify and iTunes now.

Harry Pane is scheduled to appear onstage at Penn Fest in Buckinghamshire on the 21st of July and at the Towersey Festival in Oxfordshire on the 27th of August. You can find a full listing of Pane’s live appearances on his official Web site. TGTF’s previous coverage of Harry Pane is collected here.


SXSW 2018 Interview: Buck Meek

By on Tuesday, 3rd July 2018 at 11:00 am

Header photo: Buck Meek, far right, with his band at Luck Reunion during SXSW 2018

If you’re a regular TGTF reader, you might already be familiar with the name of singer/songwriter Buck Meek. We’ve covered Meek before in his role as part of alt-rock band Big Thief, both in live review and previous SXSW coverage. Back in March, during SXSW 2018, Meek came to Austin as a solo artist, to preview his now-released debut LP, which is simply titled ‘Buck Meek.’ I caught a very quick moment with Meek after his set at Willie Nelson’s Luck Reunion to ask him about the new album.

‘Buck Meek’ technically isn’t Meek’s solo debut, following on his previous EP release ‘Heart Was Beat’ from back in 2015. That EP includes the memorable track ‘Sam Bridges’, which he played in a slightly different form in the Revival Tent at Luck than what I remembered from a live performance in Phoenix with Big Thief several years ago. Discussing his set on the day, Meek agreed. “That [song] had a more country feel. I mean, we’re playing it with a slide guitar player today, who kind of mimics the [pedal] steel, and with a country drum beat and everything.”

Having only seen Meek before in the context of Big Thief’s edgy folk rock, I was curious about the more obvious country influence I heard on display in his solo work. “I think there’s influence there”, Meek says. “I grew up in Wimberly, Texas, south of Austin. I grew up listening to, surrounded by country music. So it’s always been, I think, an influence. And to be honest, this set, I catered more towards that feel.”

But many of the songs on ‘Buck Meek’, the album, defy easy classification as straighforward country songs. Musically, the record’s foundational country tone is obfuscated by elements of what Meek describes as “grunge, and punk rock, and more esoteric stuff.” Early single ‘Cannonball!’ has a distinct twang to it, most prominently in Meek’s vocal lines, but its laid-back rhythm section is unmistakabely jazz-tinged, and its electric guitar riff is pure blues rock. ‘Ruby’ is a charmingly elusive, rhythmically complex track which Meek explained to Uproxx as “the suspension in love, when time folds in on itself, when the first instant of meeting cycles through the idiosyncratic friction and ancient affection of years together, which again cycles into infancy and eager fascination — all contained within a sideways glance.”

Thematically, ‘Buck Meek’ touches on a wide array of subject matter, from platonic male friendship (‘Joe By the Book’) to a plane crash in the French Alps (‘Flight 9525’), and an intriguing cast of characters, including a widow named ‘Sue’ and a devoted canine ‘Best Friend.’ In the end, the heart of the album is revealed in final track ‘Fool Me’, a late night country bar classic, with a plaintive piano melody and Meek’s self-deprecating vocal evoking the mild yet persistent yearning of one last slow dance on an otherwise deserted dance floor.

‘Buck Meek’ was released on the 18th of May on Austin record label Keeled Scales. Buck Meek will spend the remainder of the summer on tour supporting the release of the album, including the following run of dates in the UK in August. In addition to the shows listed below, Meek will support fellow country artist Courtney Marie Andrews at the Norwich Arts Centre on the 21st of August and at Southampton’s Talking Heads on the 22nd of August. You can find a full listing of Meek’s upcoming live dates on his official Facebook. TGTF’s previous coverage of Buck Meek is collected through here.

Monday 20th August 2018 – Brighton Komedia
Thursday 23rd August 2018 – London Islington
Friday 24th August 2018 – Manchester Gullivers
Sunday 26th August 2018 – Dublin Grand Social
Monday 27th August 2018 – Leeds Brudenell Social Club
Tuesday 28th August 2018 – Glasgow Hug and Pint


SXSW 2018 Interview: Sam Lewis

By on Thursday, 21st June 2018 at 11:00 am

Nashville singer/songwriter Sam Lewis seemed very much in his element at Willie Nelson’s Luck Reunion, which took place just outside Austin during SXSW 2018. The weather was sunny, the atmosphere was mellow, and the music was abundant. I heard Lewis perform at the early-by-SXSW-standards hour of 11 AM, and later in the afternoon I had a chance to chat with him about his new LP, ‘Loversity’, which was released on the 4th of May.

Sam Lewis internal(photo by Sarah Bennett)

Despite the afternoon sunshine, a strong breeze was blowing as we found seats on a quaint wooden swing set, and Lewis broke the conversational ice by asking about the windscreen on my voice recorder. “Tell me what’s on your recorder right now, because this thing looks kind of like, remember Don King, the boxing promoter? It looks like his hair.” (He wasn’t wrong; if you’re not American or have no idea who Don King is, check out photos of Don King through here.)

I asked Lewis about the Song Swap he’d played that morning with Courtney Marie Andrews, Caleb Caudle, and Kevin Kinney, and he responded with a wry smile. “With 100 percent honesty, I think all four of us were were asked to come play, and then we found out a couple of weeks ago that it was at 11 AM and it was a Song Swap, so we all kind of got a chuckle out of that.”

Lewis played three songs on that set, and I was surprised that none of them were from his new record. His explanation was disarmingly candid: “I didn’t feel like playing any of those.” But he continued, talking about the songs he chose to play instead. “I played ‘Virginia Avenue’, [which is] a song about where I’m from, and ‘In My Dreams’, which is off of my first record, and I also played a song called ‘Little Time’ which is a John Prine-inspired song I wrote with Taylor Bates in Nashville.”

Lewis released his self-titled debut album in 2012 and followed it up with ‘Waiting on You’ in 2015. His new third album, ‘Loversity’, centers around its eponymous title track, which sprang from a moment of spontaneous inspiration. “I was touring a couple of years ago, just outside of Richmond, Virginia, and I passed by this really cool, colorful building.” The sign on the building was partially obscured, and in his road weary state of mind, Lewis couldn’t quite make out what it said. “I saw this building, and all I saw was ‘-ersity’. I knew that there was missing letters or something, [but] I just blurted out ‘Loversity’. A friend of mine was with me at the time, and he looked it up real quick, and he was like, ‘That’s not a word.’ And I said, ‘Well, I really dig that, I don’t know what that means, but I’m going to find out what that means. So, I wound up writing a song called ‘Loversity’.”

‘Loversity’, the album, is an eclectic group of songs, both in terms of musical style and lyrical subject matter.”I don’t know where it’s going to wind up living as far as genre,” Lewis admitted. “Like with many things, there’s an identity crisis [in music], everything’s been cross-pollinated. It’s getting called ‘cosmic country’, it’s getting called ‘country funk’. I’ve heard all sorts of different things. It’s got a little bit of everything, because I’m not a big fan of limitations, but exercising all of your abilities.”

“I’m really proud of [this] project,” Lewis said about ‘Loversity’, which he produced, working with Brandon Bell at Southern Ground Studios in Nashville. “I’m a big fan of this project because of the people involved.” Lewis recorded the album with his former band, who now tour full time with Chris Stapleton and could only join Lewis in the studio. Despite having given a solo acoustic performance earlier in the day, Lewis said, “That’s where I’m going with everything, full band. Like, I experimented with horns on this album. There’s two songs that have horns, and I can see how you can get a little crazy with that, because it’s really fun.”

The individual songs on ‘Loversity’ are more philosophical than actually political, though some of them do touch on political ideas. “They’re getting thrown into a political realm, which I’m fine with, but they’re not political songs,” Lewis said. The common thread among them is a thematic motif of unity and sharing, and Lewis confesses that “they’re personal songs. I needed to hear those songs, too.”

I had a confession to make at that point as well, that I had only listened to the album once before meeting Lewis that day. He was undeterred, encouraging me not only to “try it again,” but to “try it at different times, try it it inebriated, try it non-caffeinated, try it in a car . . .” In the time between the interview and this publication, I’ve taken his advice, and I’ll pass it along to you. ‘Loversity’ is a perfect listen if you’re searching for an uplifting message in trying times, if you need a soundtrack for a long drive, or if you simply want a soulful groove on a hot summer night. Try it.

‘Loversity’ is available now via Sam Lewis’ official Web site. Our thanks to Sarah for coordinating this interview.


SXSW 2018 Interview: Dan Bettridge

By on Tuesday, 19th June 2018 at 11:00 am

If you’re a long time TGTF reader, you might remember that Welsh singer/songwriter Dan Bettridge was originally tapped to make the trip to America for SXSW 2017. (If not, you can read our SXSW 2017 preview coverage here and here.) Sadly, unexpected visa issues prevented Bettridge and several other international artists, from making the trip last year.

I met with Bettridge on the Wednesday night of SXSW 2018, at the Focus Wales showcase hosted by downtown Austin club the Townsend. He was kind enough to give me a few minutes before he played his set on the showcase, and we naturally started with a chat about the aforementioned visa challenges. Specifically, Bettridge had a problem with the Electronic System for Travel Authorization (ESTA), which determines eligibility for the Visa Waiver Program (VWP). The VWP allows citizens of 38 approved countries, including the UK, to travel to the U.S. for up to 90 days without a visa.

If that sounds complicated to you, you’re not alone. “To be honest, I think it was a clerical error,” Bettridge said. But the ordeal inspired his management team to write a guide for international musicians planning to travel to America ahead of his rescheduled trip to Austin this year. “I think that was helpful to some people, because people are still confused, you know, artists and management, about how to get their band over here. So the more we share about it the better, I guess.”

I mentioned the current American political climate as a potential obstacle for visiting musicians, and Bettridge quickly agreed. “Yeah, it’s a nightmare! I mean you’re supposed to be able to do it with an ESTA, but people are saying, just for security reasons, go and get a visa which is a bit of a pain, really. But I got [a visa] this year.”

“You don’t strike me as a security risk,” I joked. Bettridge laughed, “No, that’s just what people said! I don’t consider myself a security risk.”

At that point, we turned our attention to Bettridge’s impending set, and I asked him what I might expect to hear when he took the stage. “It will be all new stuff,” he said, “it’s kind of, how do I explain it?” He paused for a moment, and I empathised with the ever present challenge of trying to describe music in words. “I guess it’s soul rock, with a little bit of country thrown in sometimes. I guess that’s the best way to explain it.”

That intriguing description led to discussion of Bettridge’s forthcoming LP, ‘Asking for Trouble’, whose release format is equally intriguing. In the midst of the digital age, when so many musicians are releasing singles and EPs rather than waiting to put out a full album, Bettridge has struck a very deliberate compromise with the new project. “It is going to culminate in an album,” he explained, “but I’m releasing it in ‘Waves’ of four songs at a time.” The idea behind the staggered release, he said, is “to take advantage, really, of everything turning to streaming. It’s just more digestible. It’s a 16 track album, so I think it just wouldn’t work, putting it out in one piece.”

Bettridge also wanted to encourage his listeners to take some time with the new songs. “Sometimes huge artists will bring out albums, and the following week they’re just forgotten about, you know, they’re just dead. So [this] was another way of prolonging the release and trying to get every song to be [heard] without interruption. I think four songs is a good number of songs to be released at a time.”

The individual ‘Waves’ are each carefully constructed and deliberately different from the final album tracklisting. “It’s a little bit eclectic,” Bettridge said of the full LP. “There’s some really driving rock songs on there, and then there’s also some more sort of pop sensibility songs on it. The ‘Waves’ are gathered together where the songs make sense together, so there won’t be so much of a shock when the full album does come out. There’ll be three ‘Waves’ in total, and then the final ‘Wave’ will be kind of like a completion of the album. So when people buy the album, they’ll still be getting songs they haven’t yet heard.”

Despite the temptation of that payoff at the end, I suggested that the ‘Wave’ approach might be asking a lot from Bettridge’s listeners in terms of thoughtful comprehension of the music. “I kind of thought I was making it easier for them!” Bettridge exclaimed. Still, this is clearly an album for dedicated listeners, even with accessible singles like ‘Heavenly Father’ in the mix.

Dan Bettridge’s LP ‘Asking for Trouble’ is due for full release on the 6th of July. In the meantime, you can listen to Waves One, Two, and Three on Spotify or on his official Soundcloud. Bettridge will be on tour in the UK this summer, playing headline shows and festival slots.  TGTF’s collected coverage of Dan Bettridge is right through here.


Great Escape 2018 Interview: Knightstown (Part 2)

By on Friday, 15th June 2018 at 11:00 am

Missed part 1 of this interview with Michael Aston, aka Knightstown? No worries, catch up through here.

A part of Michael Aston’s Knightstown project that can be polarising to some is his choice of using falsetto. Those familiar with and that are fans of James Blake, Jamie Woon and Wild Beasts won’t have any problem with this, but I wondered why there seems to be this tidal wave of male falsetto voices all of a sudden and how hard it can be to sing in such a higher, unnatural register for men. Aston explains there’s a mechanical method to the madness. “It can be [hard]. Actually, sometimes there’s a weird range, and there’s more than one segment to that range of the falsetto. My chest voice is up to C natural, middle C. And then there’s like a set of about six tones from there, which is the first part of the falsetto, which is my most comfortable range. It’s easier to control than the chest voice. Then when you get past G, it gets hard again, it’s gets more erratic. It’s sandwiched in between. There’s this sweet spot. You’re also needing to transition between three different registers, it can be quite challenging if you’re doing scaling.” That’s probably more than you need to know if you’ve never been a music student, but I eat all this geeky sort of music knowledge up.

Going back to his work with his cousin Tom, it turns out Aston wasn’t immediately keen on James Blake. He can look back at his time in the studio as a different kind of education, so that now he can look at Blake’s work rather intellectually. “I knew when we were making the album that my cousin Tom was a James Blake fanatic. It’s been interesting to see how long it took him (Blake) to gain currency. Mercury Prize, working with Kendrick Lamar, that kind of stuff. Personally, James Blake has been a real slow burner for me, I started out thinking, ‘this is too weird, even for me’. But I think it’s the latest album, ‘The Colour of Anything’, the more I listen to it, the more I think, ‘oh gosh, this guy knows what he’s doing’. This guy is always doing something new and doesn’t sell out at all.

“He always does something interesting. The textures of his songs are so transparent, you can pick out the different elements. You can focus on the beauty he’s created in the lines. It’s like going back to the rock counterpoint. My appreciation for him has increased exponentially, and now I’m at the point where I think he’s just an incredible musician. He’s definitely a touchstone, or a comparison for the route we were going down. At the same time, we wanted to be a bit more melodic and accessible. Melody and harmony are the two most important things to me.”

I ask Aston if he’s had a big ‘a-ha!’ moment while writing as Knightstown. “Yes, that was when I got the first draft back for a song [to be] on the album, called ‘Catcher’. That was the first time where my vision of it, when I gave all the material over to Tom, he came back [with the draft] and I remembering listening to it and going, ‘Oh! He’s on to something here. This is it!’ I’ve remained fond of that song.” He also lets me in on his favourite chord in another of his favourite songs he’s written, ‘Eyes Open Wide’, probably because it’s got layered strings, it’s almost Bjork-like…D major seventh plus nine chord in first inversion…” What’s that? That’s the sound of that bit of knowledge whizzing over my head. “Different chords give different feels.”

Much like his contemporary Chris ‘C’ Duncan who I interviewed in Washington late last year, Aston has a neverending desire to continue his artistic vision. “It’s hard to know exactly what this compulsion to write, to offer people an alternative music experience, is. You want to inject hope. I’m always interested in the artistic sweet spot between self-restraint and emotion…It’s about wanting to lift people’s spirits and find what moves them.”

There’s a lot of new music from Knightstown in the works, which is exciting: Aston tells me to expect two EPs and the debut album soon. He’s also proud of the most recent development of signing a production music contract with EMI, which has led to his first proper collaboration with live bandmate Hodson, as well as two fellow Brightonian producers, on what Aston describes as “ambient dance sort of stuff, it’s really good.” Their EP ‘Electronic Projections’, out on EMI Production Music in conjunction with FatCat, is described on the EMI Production Music as “Cool and captivating downtempo electronic offerings from the FatCat Records roster”. Intriguing. On top of radio play on BBC Radio 1 and 6 Music and Amazing Radio and garnering press with Clash Magazine and DIY, Aston feels good about how things have started for Knightstown “from having been signed from a demo”. Indeed.

The Knightstown EP ‘Keep’ is out now on FatCat Records. Many thanks to Michael for letting me pick his brain on various musical things and answering my questions about his solo project. All the best!


Great Escape 2018 Interview: Knightstown (Part 1)

By on Thursday, 14th June 2018 at 11:00 am

There’s that saying that you can choose your friends but not your family. In Michael Aston’s case, it was a family connection that paid off huge dividends for the direction of his pop music career. His producer cousin Thomas is one of four children “all super talented musicians, but Thomas was the only one who wanted to pursue music as a career.” Good thing, too, because if it hadn’t been for Thomas, there might never have been a Knightstown, or at least the Knightstown that we have come to know. Aston sets the stage for us: “I started playing some of my songs to him years and years ago on the piano when he was down for a family reunion. He said, ‘oh right, cool, we should go into my studio and lay down some tracks.’ I said ‘great, let’s do it!’ And we did, and it just developed from there. That’s how we first got together.”

We’re sat in a pub in the Laines after Aston’s opening set at the FatCat Records showcase Saturday afternoon at The Great Escape 2018 in One Church, amusingly during the wedding of Prince Harry and Meghan Markle off in the distance in Windsor. He is a friendly giant (hey, I’m little, remember?), an extremely affable sort. “I also tend to get on well with producers. Then tend to be organised, and laid back, and friendly, and they don’t get into a flap about things. They’re meticulous. They bring their own influences to the table. He introduced me to the likes of James Blake and Sampha. Electronica was a mystery to me until I really starting working with Thomas. And then I got steadily more into it. If you scratch below the surface, you realise people are doing incredible things. There was a lot of listening to a lot of stuff and thinking where we want to sit in that world.”

But before we delve deep into that part of his career, it’s worth noting his musical activities before he became a solo artist. Following the completion of his undergraduate degree at Oxford, Aston headed north, to Glasgow and the Royal Scottish Academy of Music and Drama, now known as the Royal Conservatoire of Scotland. It was like night and day for the young, musically-minded Aston. “The Composition Department at the Conservatoire was actually extremely open-minded. It only gradually dawned on me how open-minded it was compared to my undergrad [studies] at Oxford, which was the opposite, with very strict ideology. Pop music is just seen as the scum of the earth.” He chuckles. “Around that time, I started listening to Stevie Wonder, Elton John and the Beach Boys and I went, ‘I like this!’”

During his time studying for his M.A. in Composition in Glasgow, he was surrounded by loads of people doing loads of different, interesting things. “At the Conservatoire, there was a lot of composers doing electro acoustic, a lot of composers who are just acoustic classical, and others like Chris [Duncan, aka C Duncan] that branch off into other areas. There’s a really wide, nebulous spectrum of stuff. It was really encouraging, but that’s only rubbed off on me in retrospect.” He was given the opportunity to compose for his folk harpist friend Haley Hewitt, which we could say is where his freelance composition work first began. “Haley asked me to write a suite for pedal harp of all things, which was a cross between folk and classical. That actually got published in the States (as ‘The Valentia Suite’). It was nice to do that, it was really fun writing, as when she was out, I used to play on her harp, with her permission, of course. All of this made me realise music isn’t just one thing or another. It’s such a diverse discipline.”

Also during this time, he was recruited by fellow student Duncan to join the live band, as keyboardist, for the performance translation of C Duncan’s recorded, one-man-band music. As I often say, things happen for a reason, and nothing is coincidence. Having heard that Duncan had signed to Brighton’s FatCat Records, Aston took the chance and submitted a demo to them. “The record was written as a very studio record…I wrote the album with keys and string arrangements. We recorded them in his [Tom’s] studio, and then he went off and did his stuff. Then we sent it to FatCat. Dave Cawley (co-founder of FatCat Records) signed us and liked it.” And so it began.

Knightstown Saturday the Great Escape 2018

The next practical thing to tackle was to figure how exactly Knightstown, the recording artist was going to be translated to Knightstown, the live experience. Cawley had very specific ideas on how to go about this, and things turned out overwhelming positive for Aston. “When it came to live stuff, he [Cawley] wanted the live experience to be different than from record. He knew Matt [Hodson] because both are based in Brighton. He said, ‘I’ll ask Matt if any of his students were keen’, as Matt is a senior lecturer at BIMM [Brighton] in sound engineering and he really knows his stuff. Matt had a listen and decided he wanted to do it himself, which is such, such a win early on. The biggest worry early on was how we were going to translate these intricate arrangements in a live setting. But then once Matt came on board, he’s the perfect combination of sociable, lovely guy and absolute expert at the technical. And laidback as well, but also super organised. So he ticks all the boxes. I’ll be holding on to him for dear life for many years to come!”

Aston gave Hodson the song stems and “he started adding extra bits and worked on extending the tracks. Some of them had been a bit short. We wanted to make them more spontaneous for live sound.” He commends Hodson’s transformation of what he originally envisioned with his cousin in the confines of the studio. “He beefed them up as well, as most of them were quite minimalistic electronically in that respect, mellow. So in the live context, we also thought about Dave’s advice, as he wanted something more dynamic, beefier. So he (Matt) did that and he did such a great job: some of the tracks didn’t need much treatment, some really need a lot for live.”

Stay tuned for part 2 of this interview with Michael Aston of Knightstown, which posts tomorrow.


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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.

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