The Cluny: HELEN GILDERSLEEVE explores the history behind the popular Ouseburn Valley venue.
Even rare pub goers in the region will have heard of or paid a visit to The Cluny in Newcastle’s Ouseburn Valley. Priding itself as being one of the North East’s premium music hot spots, The Cluny has been hosting bands from across the globe since the turn of the century in 1999.
Once the home of a bottling plant for a Scotch whisky called the Cluny, this is now a post-industrial bar with separate music rooms that thinks like a pub and doesn’t try to be something it isn’t. You want an affordable, decent band night with a variety of beers and tasty pub grub (they even do chips and gravy in a baguette)? Look no further. This is the Cluny’s major USP and the reason behind its popularity across the region.
The Cluny’s raison d’être is music – from the moment you step inside the industrial brick walls are adorned with posters advertising forthcoming bands from The Monkey Junk Blues Club to Reverend Peyton’s Big Damn Band and a 20 year anniversary celebration of Radiohead’s OK Computer, where fans and musicians come together to perform. It hosts over 400 gigs a year, all of which are well attended.
Whatever your musical taste, the Cluny is bound to have something that appeals and this is the beauty of the place- in a world full of trends and pigeonholed venues, the Cluny doesn’t have a specific clientele nor does it judge or care. I last went in wearing sports gear whilst sitting next to folk all glammed up from the races.
Artists performing here range from the known to the completely unknown and eclectic. Notable acts that have graced its stages include Mumford & Sons, Arctic Monkeys, Seasick Steve, The Futureheads, Duffy and Glasvegas. Solange Knowles, younger sister of global phenomenon Beyonce, kicked off her first UK tour here in 2008.
Pre 2009 saw the Cluny having just one music area, until a golden opportunity arose when it took over the running of the adjacent former Round Theatre, which went into liquidation in 2008. This theatre style, 160 capacity period venue was re-branded as the Cluny 2 and the rest is history.
If you’re like me and are always intrigued by the history of quirky venues like this, I did a bit of digging and discovered it is housed in a former flax spinning mill which opened in 1848. It then re-opened as a steam powered flour mill in 1860 before taking its namesake from when it became a whisky bottling plant decades later.
It’s fair to say 36 Lime Street is continuing its history and putting a quirky building to great use great use once again.
PAUL WHITE reviews North East musician Mike Ross on a return gig to the region.
Back in the late 90s, I had the pleasure of writing about live music for The Northern Echo. While the opportunities to interview the likes of Bon Jovi drummer Tico Torres, Gerry Marsden, Terrorvision, Deacon Blue and many more was fantastic, what I really loved was seeing local bands play live and be well-received by decent-sized audiences around the Darlington and Durham music scenes.
One band that I maintain to this day to be one of the best and most exciting bands to see live was Taller Than, a three-piece outfit from the Sacriston and Lanchester area.
Playing their own music as Taller Than, often coupled with covers sets as the Popular Beat Combo, they were regulars at the likes of O’Neills in both Durham and Darlington, and the Filibuster & Firkin in Darlington, along with many more venues around the region.
In 2000, they played their last gig in Darlington before moving to the Brighton area, where all three members are still active in the music industry.
Sixteen years on, singer and guitarist Mike Ross returned to Darlington on Sunday night for his first return gig in the town, playing a two-set late afternoon session at The Quakerhouse.
Normally fronting the Mike Ross Band, Mike stripped back a range of his own numbers and covers, without losing anything in his simple guitar and vocals arrangements.
Opening with a Credence Clearwater cover, he quickly got the audience onside before heading into the latest version of an old Taller Than number, Questions, and mixing his own tracks like Ran Thru Here and Statesboro Blues with his own cover of Aretha Franklin’s Baby I Love You, which appears on his latest album, Jenny’s Place.
The hugely appreciative audience in a venue I had forgotten how much I like, complete with a great selection of real ales – right up my street – were ready and waiting for a second set to follow the break.
Set two opened with a version of Stephen Stills’ Love The One You’re With and took a blues journey through Robert Johnson and Willie Dixon, before dipping into Mike’s Spindrift debut album for Don’t Worry Baby Just Call, then returning to the familiar for the audience, with Johnny cash’s Get Rhythm, Marvin Gaye’s Heard It Through The Grapevine and more.
Closing the show with his own Bamboozled, Mike left the audience happy at the close of his mini North East tour and promising a return to the region in the Spring.
It was a great way to remind myself just how good Mike Ross is and what a great venue The Quakerhouse is, as well as what a hotbed of great musical talent the North East is, whether or not you’ve heard of many of the acts.
HELEN GILDERSLEEVE gets a taste of Louisiana as she chats to local Americana bluegrass band with a difference, Big Red & the Grinners.
Trying to describe the talent of this band is difficult – you just need to see them.
Featuring banjo, accordion, double bass, acoustic guitars and percussion, Big Red & the Grinners move seamlessly from the likes of Jay Z’s 99 Problems, Technotronic’s Pump Up the Jam, Tony Rice’s bluegrass classic Freeborn Man to a hilarious rendition of Paradise City by Guns n’ Roses.
It’s clear from the minute Big Red & the Grinner’s step onto the stage at any of their gigs (and I’ve been to six), that the audience love them. And if they don’t immediately, they soon will.
“They call us Big Red and The Grinners because I’m Big Red, and these are the Grinners” followed by yells of “Yee Haws” is how this band operates. You just can’t help but like them and I defy anybody not to.
So what makes this band so likeable? It’s a mix of their hilarious and foot tappingly addictive covers of classic songs through to the jovial and informal way they interact with their audience treating them to cheesy jokes between songs. It’s a struggle not to smile and get up and dance.
A particular favourite of mine is their cover of the popular ‘Crazy’; “my Grand-pappy wrote this song for a young fellow named Ceelo Green, or Gnarles Barkley, whatever you wanna call him”, shouts Red as he laughs into his microphone, beer in hand, and stays that way until they finish with John Denver’s ‘Country Roads’ with the whole audience dancing away and singing along at the top of their lungs.
Tell me a bit about Big Red and how you began?
Joe, our guitarist and banjo player had become tired of what had become a stale and predictable music scene in the local bars and clubs where most of the bands all seemed to be playing the same stuff. With a desire to create something different he set about assembling a band of musicians willing to try something out of the ordinary. We didn’t set out to create a certain ‘type’ of band, the only brief was that the song choices had to be different from what anyone else was doing at the time.
After a few rehearsals and some interesting early gigs, the songs themselves somehow seemed to shape what became Big Red & the Grinners and things just developed from there. Our music has been described as a combination of bluegrass, rockgrass, folk and blues – we’re still not entirely sure ourselves – or what ‘type of band we are! Ask ten people at one of our gigs and you’ll get ten different answers – we like that!
What’s the perks of the job?
Apart from the free beer and private planes? Getting to meet lots of interesting folks is a great part of the job. We’ve been lucky enough to share the stage with the likes of Ward Thomas, Della Mae, Lost Bros and Field Music which has been great. We’ve also popped up on TV a couple of times too and it’s been good to see how all that works behind the scenes. We’re still waiting on the call from James Corden that he promised though!
What’s your musical inspiration?
Well anyone who’s ever seen us knows that Red’s Grandpappy is our musical inspiration. People are amazed at how many hit songs that man wrote! We’ll be bringing out our first CD containing a good selection of them in time for Christmas. Forget Little Mix, Michael Buble or Lady Gaga….it’s Grandpappy’s Greatest Hits Volume 1 that you need as your stocking filler this year. Available from all good high street stockists…..or from us which will be easier!
Where do you enjoy performing?
We enjoy performing everywhere but festivals are our favourite gigs. You get to travel round the country to play for people who don’t often get the chance to see us – or have never seen us before. We closed the Upton Blues Festival down in Gloucestershire this year where almost every building in the town is turned into a music venue. Headlining the outdoor stage on the final night next to the river was pretty special.
Locally, we love playing Sage Gateshead and The Cluny. Two very different venues in terms of size and atmosphere but both have something about them. The Americana Festival at Sage Gateshead and Stormin’ The Castle down in County Durham are particular favourites.
Where does the deep south influence come from?
That will be Red’s Grandpappy again! He’s from that neck of the woods.
We keep telling Red we’re only bringing back home what’s rightfully ours though as much of American roots music is based on Irish, Scottish and English traditional music. He begs to differ but everyone knows he gets his geography mixed up now and then – I suppose it’s only to be expected from someone who must clock up more air miles than Springsteen!
RICHARD CALLAGHAN is captivated by Durham-based Martha, one of the most exciting bands to emerge from the North East in recent years
This Saturday’s concert in Newcastle was the third time I’ve had the privilege of watching Martha live, my sole regret upon leaving Live Theatre being that it was only the third. Where their 2014 debut Courting Strong confirmed them as the most exciting band to have emerged from the North East for years, this year’s thrilling follow up, Blisters In The Pit Of My Heart, surpassed its predecessor in every department. Yet, such recorded brilliance threatens to raise expectations to a level that many bands simply cannot meet. All too often the product of a tightly controlled recording studio, however exemplary, can prove impossible to match on the stage. It takes a very good band to be as good live as they are on a record. Fortunately for all concerned, Martha are indeed a very good band.
Matching music with an uncommonly muscular grace to lyrics betraying an acute and gentle wit, the Durham four piece know exactly what is required, the ferocious charm of their live performance grabbing the audience by the scruff of the neck and dragging us along. It helps, of course, that they possess such a strong collection of songs, but as previously stated having great tunes is only an asset if you can carry them off in person. This Martha do with aplomb.
The ability to produce a set entirely free of filler is a rarity in a band with only two full length albums behind them, yet the eleven songs Martha raced through on Saturday evening constituted just that. Personal highlights included two of my favourites from the new record (“Chekhov’s Hangnail” and “Goldman’s Detective Agency”), alongside Courting Strong’s “Present, Tense”, and the ever wonderful “1967, I Miss You, I’m Lonely”.
Whether it is by virtue of their determinedly DIY ethos, or a symptom of the changing face of the music industry (one cannot help but feel that were this a decade or so ago they would have been beguiled with, and engulfed by, an enormous recording deal long before now), Martha have emerged as one of the most consistently interesting and staggeringly complete bands in the country. That the nature of their progress to this point means that we still have the opportunity to watch them play in small rooms (rather than the enormous venues which are clearly their destiny) is a gift to music fans everywhere, and one I urge you to seize if you have the chance. You might not get it again.
Any review ought to be balanced by the mention of both positives and negatives, so I’ll end this one with my two biggest criticisms of Martha’s performance. The set was too short, and they’re not playing again tomorrow. Come back soon Martha, I can’t wait to make it time number four.
Sunderland musician Ross Millard talks to RICHARD CALLAGHAN about his Edinburgh Fringe debut
Ross Millard is looking relaxed. Surprisingly relaxed, in fact, given that he’s one third (just about, more on that later) of one of more than three and a half thousand shows at this year’s Edinburgh Fringe. Guitarist for the Futureheads and Frankie & The Heartstrings, Ross is making his Fringe debut in a show about music, why people stop playing it, and why it’s great when they start again. I sat down with Ross, and asked him about the show, the relationship to the audience, and his first experience of the Edinburgh Fringe.
Putting The Band Back Together features Ross Millard, Maria Crocker and Alex Elliott. It is directed by Annie Rigby. Writer, Chloe Daykin.
RC: So, what’s Putting The Band Back Together about?
RM: Annie’s chosen to describe it as part gig, part poignant show about reconnecting with a one-time obsession in your life. In our case it’s music but it transfers to anything that you’ve had a passion for but which has dissipated.
The original inspiration for the story was Mark Lloyd who was a Northern Stage actor diagnosed with terminal pancreatic cancer, and with the rest of the time he had left the main thing he wanted to do was put his old band back together. And he did it, and they did gigs at Washington Arts Centre and places like that. Alex and Annie were very close with Mark and they wanted to sort of honour that story because it’s quite an important message in life, at the heart of it all what’s your passion? What do you want to do above everything else? But that story’s offset with some quite wild interpretative moments with other people’s experiences about music. And then there’s the House Band element as well.
RC: For those who haven’t seen the show yet, could you just explain the House Band?
RM: So every day at three o’clock at Summerhall we meet up with anybody who’s coming along to the show who plays any instrument, a little bit or a lot, and we’ve got a rehearsal room booked and we go off for three quarters of an hour and run through some tunes and then they get up and they’re part of the show. So far we’ve had quite a good variety, we’ve had a flautist, drummers, keyboard players, quite a few guitarists, singers, people are getting in touch constantly and the band’s different every day, which is great for us.
At the heart of the message it’s that it’s not about ability, it’s not about getting bogged down in the minutiae of being great, it’s just about doing it, and if that’s the message of the play we couldn’t really have that without the House Band.
As an audience member, perhaps even subconsciously, you’re willing them to do well. But there’s a fine line to walk, because people have paid their money and they want to see a quality show, I don’t want to do something where people come along and the theatre element is great but the music falls apart. It’s about trying to arrange it so that people can still contribute regardless of their ability, and so that the show remains strong.
Yesterday we had a guy who contacted us out of the blue, plays keys, he said “I’ve got tickets for the show with my wife, I play keyboards very occasionally, jazz, and it’s going to blow my wife’s mind if I just get up and become part of the House Band without her knowing about it.” So he told her he was at a meeting, and came along to the rehearsal, and her jaw just dropped when he stood up and joined the band. And it was a thrill, you know, for him to be part of that. A big deal to be up on stage, to perform, it’s easy to forget that not everyone does that on a regular basis. It’s a big deal.
RC: You’re used to performing, to playing in bands, but this must be a different experience.
RM: I’ve tried to treat the audience at our thing the way I’d treat the audience at a normal show, and I think you’ve got to hope there’s strength in the story or in the overall experience, and that people take something away at the end. Getting a theatre audience on side isn’t like getting a gig audience on side, it’s more difficult, because you’ve got less opportunity to engage with the audience.
RC: The Fringe is famously a fairly unrelenting experience, why have you chosen to do it?
RM: When I got approached to get involved it was completely out of the blue, but I really wanted to come and play music, and this is an opportunity to still write music, still play, and I couldn’t really say no. It’s flattering as well, somebody coming and saying ‘do you want to write the songs for this show’, too right, yeah.
I think you’ve got to accept that it’s a different experience to playing in a band, and I’m just trying to have my eyes as wide open as I can and take as much in as possible. I’ve enjoyed doing this work and it’s something I’d probably like to do more of, but if that’s going to happen I need to understand the machinations of it and the way that it works.
RC: The devising process for the show involved a lot of work in Sunderland with the Cultural Spring, how did you find that?
RM: The thing that totally terrified us was the workshop, participatory element, because I’ve never done any teaching before, never really had to get large groups of people to do something I want them to do, apart from in Hounds of Love. It’s not quite the same. So that was terrifying for me, really uncomfortable, but as the months have gone by we’ve got to know each other more and more, we’ve got a big band there, and I’ve grown to really enjoy doing it. We’ve got a good chemistry between us all, everybody’s really friendly, we know a lot about each other now, and it feels more like a normal band. Up here we’ve got 45 minutes to make that happen, so I’m really glad we’ve had all those months of preparation in Sunderland because it’s changed my approach here.
RC: If you could describe the show?
RM: It’s quite life affirming and fun, and that strikes me as important. That’s quite a political thing to say, I think, that now more than ever the most important thing is to say ‘what is it that you care about? Let’s go for that, let’s try and embrace that a bit more’.
Annie’s always made these kind of feelgood, life affirming positive shows, and in terms of her work it’s very much consistent with that, it’s an Unfolding Theatre show, she’s got an identity and an aesthetic and I think sometimes you come into a project and there need to be some parameters and some rules to follow, because otherwise you never get anywhere because it doesn’t know what it wants to be.
RC: And finally, what will you take away from this year’s Fringe?
RM: I think I’ll take a little bit more knowledge in terms of how live theatre works, how much of a connect or disconnect there can be with the audience. Personally, if I want to write more music or songs for shows, I know I’m not always going to be in them. I was quite surprised to end up in this. I didn’t really expect that in a million years, but it’s been a great experience, a really democratic process to be involved in, and I know that lots of people don’t work like that. But I think I’ve come away with a much better idea of what works and what doesn’t, how much more economical you have to be with what you’re saying and the way you’re saying it. In a gig you can give backstory, you can introduce things, you can do whatever you like. But in this you’ve not always got that opportunity, sometimes you have to sum up a scene in a short piece of music, or just a song. That context, that knowledge of how a show like this works, that’s really important.
Putting the Band Back Together is part of the Northern Stage programme at Summerhall, Edinburgh (Venue 26, 16:50) until August 27th (not 17, 24). The show will then return to the North East for performances at Arts Centre Washington 0191 561 3455 (September 22nd) and Newcastle’s Northern Stage Tel 0191 230 5151 (September 28, 29, 30).
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PAUL WHITE presents his entertaining analysis of Durham’s busking auditions which aim to vet the quality of buskers in the city, but who decides?
An interesting item came up on my Facebook feed at the weekend. A couple of musician friends had both posted a link to a Change.org petition against a new way of regulating buskers that is being established by Durham Business Improvement District (BID).
Neither of my musician friends actually busk, but they were vehemently against the idea. I read the introduction to the petition, found that I, too, agreed, and duly signed up.
At the time of writing, it’s 22 names short of 1,000 signatories.
The essence of the tale behind this petition is that Durham BID is bringing in auditions for people to secure six-month busking permit in Durham City. Currently, no such licence is required to do so.
Having read both the petition and reports in the Durham Times, it seems that local people attending these auditions, alongside representatives of local businesses, the police, etc, will get to vote on which buskers get a permit. It’s either a straight yes or no from the “judges”. How demoralising for someone who has a bad night, or is just starting out to face rejection like that.
It seems the business community isn’t happy with the noise and this is what has started all of this kerfuffle. (Note to certain elements of the business community, when you get a quiet moment in your shop, just listen to some of the rubbish being piped in on your speakers. Scorpio Shoes, where staff have excellent musical taste, are excluded from that last statement.)
Now, having seen who gets voted for on the X Factor, I’m horrified by this prospect. It always seems those talented artists who have worked their backsides off, busking away, playing to one man, his dog and a pool table in local pubs, and who have actually developed a skill set, far too often get voted off in favour of bland, manufactured music and “characters”.
Can you imagine Jedward or Wagner lasting five minutes if they tried busking on Gala day?
Interestingly, my England’s North East colleague, Dave Simpson, nipped down to the city centre and talked to some buskers.
Irish piper Neil Chambers told Dave he wasn’t really against the licence, but his main concern is for the increasing use of pre-recorded music by buskers and I have to agree.
Neil said: “They should do what Dublin did: ban backing tracks to take it back to what busking should be, creating a nice atmosphere instead of overloud pre-recorded music which a lot of people think is insulting.”
I can’t imagine the “X Factor” style voting panel would agree that backing tracks are a bad thing. You can just imagine Cheryl Fernandez-Versini (surname correct at time of writing – I genuinely had to Google it to check) saying: “Ok Reggie and Bollie, that’s very good, but I need you to play something called a guitar.”
Fair enough, if what this proposal does is eliminate that element of pre-packaged musical hell. Isn’t it better to put efforts into stopping those anti-social people who blast music out of their phones as they walk down the street, or as they travel on public transport? Perhaps they could legalise grabbing those phones from the offending individuals and smashing them into a million pieces. I digress.
What I like about unlicensed busking is that it is, by its nature, rather self-regulating. If buskers are good, they will earn money and return. If they are terrible, they will not, with the possible exception of a busker many of you may be familiar with, who camps himself at the Newcastle side of the Millennium Bridge and is charmingly entertaining in his own inimitable way.
It seems that the members of Durham’s business community who have created the issue by complaining about the noise must not be bothered by the actual noise itself, if the proposed resolution of the situation is for buskers to be licenced. Then it seems it may be a matter of taste and, surely, all these events are likely to do is change the style and, to some extent, quality of the performers. It’s swapping one noise for another and isn’t that just institutionalised discrimination?
Should the petition fail and this goes ahead, I urge all fans of live music, the ones who go down their local when there is a band on, the ones who go to local festivals and open mic nights, to get themselves along to these events en masse and vote for the real talent they think deserves a slot.
But then, if these acts can wow a real live crowd, do they not deserve something a little more than being sent to play outside in the Great British Weather?
*The first Live InDurham busking audition event will be held at Whisky River on Thursday, August 18, from 7pm. Details are available at www.durhambid.co.uk/live.
PAUL WHITE speaks up on behalf of small, independently-run music festivals and the talented, hard-working bands that deserve our support
This Sunday marks one of my favourite days on the North East social calendar.
It’s not the first day of the Hoppings. I’m not talking about Sunderland Air Show. I’m not even talking about my annual Cup Final Day outing with “the lads” (none of whom usually have much concern over the result of said match, being largely Sunderland, Newcastle, Everton, cricket and F1 fans).
It’s Middlefest 2016, one of the many small, independently-run, not for profit music festivals that have sprung up in the North East over recent years. It’s small, but growing. They’re expecting up to 1,000 this year.
Unlike some of the other festivals in the region, there is no big name headline act (though credit to those who are now drawing those names – I still can’t get over the fact that Dodgy have now headlined a show in Shildon). It’s largely local acts who, in the past, have belted out a mix of their own music and covers, performing from the back of a trailer to an audience who sip beer, while lounging on the grass and, as the day progresses, even getting up and dancing.
It’s a chilled day, just as it should be. And the music is good, very good.
Festivals like Middlefest are made possible by the coming together of two groups – those selfless individuals who just want to put on a good event for the public, and those who dare to pick up a guitar or a pair of drumsticks and dream.
We’ve always had both sets of such folk in our region. I started following the local music scene in the late 90s, as a young reporter for The Northern Echo, and found that Darlington and Durham in particular had some great bands and excellent venues. The Filibuster & Firkin in Skinnergate (sometimes running four gigs a week), and O’Neill’s in Duke Street, along with the Tap & Spile, sat at the heart of the Darlington scene, with the Quaker House also coming along as well. In Durham, again O’Neill’s was a fantastic place for a Bank Holiday marathon gig.
Bands like Taller Than, Ethan, Lucas (later Stone Coda), Alex & I, and Teesside’s Little Pink Polliwog were always good for a night’s entertainment and, occasionally, hard-working venue managers, such as the Firkin’s Craig Sharp, would pull through a gem. I recall Sex Pistols legend Glen Matlock, Toploader and Bad Manners among the bands to grace that stage at the time. Let’s not mention Rock Bitch.
I saw Nick Harper play for the first time in the Tap and have been a fan ever since.
Now, we have bands of equal value playing festivals like Middlefest, where recent years’ highlights have included The Silence, Warning! (sadly no more) and Edenthorn, while our scene also boasts the likes of Black Nevada, Twister, Fire Lady Luck, Ten Eighty Trees and amazing singer-songwriters like Hayley McKay and Beth Macari. This is just scratching the surface.
The problem is, I said earlier that this is made possible by these two groups of people, but it actually requires a third group to get involved as well, and that is the music loving public. It’s easy to sit and think “oh, that sounds nice…but I’m quite comfortable in my armchair”.
Get out and find that live music before it’s gone. These acts and these events need support to keep going. They work a damned sight harder than many of the acts (I say many, not all) who try to make a quick win on TV talent shows, and they choose the difficult route of playing in front of three drunk men and a pool table, a dog if they’re lucky, and working their way up as they slowly get better and their talent is recognised.
Middlefest* is this Sunday, July 24, at Misty Blue Farm, near Spennymoor. Tickets.
*Other festivals are available.