Something going by the name of ‘concert’.

Short of corporate sponsors and barely hidden back-handers to elected officials, it seems that the idea of the concert is coming back, albeit with a fragile sense of optimism. So it is with that warm, fuzzy feeling of positivity that I was really pleased to see the ‘going ahead of’ Hidden Door Festival.

There was once a time when musicians would advertise their presence in some sort of location, outside or in, with the express intention of playing some music for an allotted period of time. On coming to know of said musician’s intentions, members of the public (onetime referred to as fans) who felt some kind of intangible affinity with the music, would seek to be present for the duration of the musical performance (set), even going so far as to pay for the privilege of just being there. This whole affair was called a concert.

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Trolled by Garbage and an actor off Desperate Scousewives

In today’s article, we look at how corporate individualism has championed over collective creativity and support in the music industry. Plus, Rab C. Nesbitt.

Catchy titles never were my thing…

I am going to start this article with The Proclaimers, a band that I personally think are worth 1000 times more than their classic 1988 global mega anthem, ‘I’m Gonna Be’. For me as a fan of lyrics that focus on the issues at the heart of modern Scottish life, the album ‘Sunshine on Leith’ is in my top 3 of Scottish albums from back in yon day (Scared to Dance by Skids and Steeltown by Big Country being my other contenders). Anyway, the twins’ story of how their music made it mainstream seems simple if Wikipedia is to be believed; a demo alongside Kevin Rowland of ‘Come on Eileen’ fame that ended up with another established indie group, The Housemartins, and then bang the cycle of creativity began. It shouldn’t really be that surprising that collaboration between established artists and emerging ones led to the success of this iconic band, but to me, it seemed just that. Surprising.

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