Following up to their single ‘Ice Cream Sundae’ which hit the music scene in September 2019, Dublin quartet Inhaler have now released their new single ’We Have To Move On’ on Polydor Records. Inhaler have just been announced as fifth place in the BBC Sound Of 2020 and recently completed a UK and European tour that saw them sell over 7,000 tickets and play to frenzied, sold-out crowds. Kasabian recently announced Inhaler as one of the support acts at their upcoming huge hometown show at Leicester’s Victoria Park.
’We Have To Move On’ presents Inhaler’s effervescent sound through a bubbling sonic soundscape and brooding swirling atmosphere. Inhaler tastefully lather their tracks in a driving, rushing pulse of adrenaline and ‘We Have To Move On’ is no different. The track ferments through the rumbling bass which smudges a dark gritty coating over the escaping bite on guitars. Sonic elements flash and flurry through the soundscape reinforcing the bass’ ripple effect while the steady snappy beat on drums skillfully reins in all this palpitating mania. An ethereal melody drips off rasp coated vocals as the track wiggles and weaves with tension building steadily in the backdrop while slinky, raw guitar moments slice through the dark, swagger-filled atmosphere. ‘We Have To Move On’ is an impressive display from Inhaler as the quartet continue their impressive run with an eerie tempting number which adds a dash of maturity to their delicious indie sound.
Our Worth A Listen Track This Week Comes From Skyfever
Photo Credit : Ray Keogh
Dublin alternative rock band Skyfever have released their new single ‘Keep Pounding’.This scorching slice of rock roars into the ears with relentless stamina as Skyfever present their mammoth sound in all its glory. Searing guitars gash through pulverising drums as an epic catchy chorus and powerful vocals dominate throughout. It’s an instant rush of motivational adrenaline and vigor. This band wrestle your ears with scorching rock laced in swagger and might as the brawny rhythm pounds though your body. Made to play as loud as possible Skyfever whack out another potent number with ‘Keep Pounding’.
The Goldborns have recently released their new single ‘Shelf Life’ featuring Mick Jones. The West London band/production duo released their debut EP last year co produced by Mick Jones (The Clash) and received radio play on all BBC stations. The band have now found a drummer and are set to release their second EP ‘Live from The Bunker’ on March 1st.
‘Shelf Life’ is a melodic groove fest as The Goldborns flesh out their mellowed hazy musicianship with this dreamy sparkling number. The jangly tasty guitar lines wiggle and weave effortlessly through the shuffling drag beat creating sweet undertones and little bursts of luminosity through the dazed soundscape. With a catchy melody honest lyrics and instant sun-kissed charm The Goldborns find the sweet medium between lazy day gloom and dreamy bliss within this golden gem. Keep an eye out for The Goldborns.
Birmingham UK Glam Rock act TREMENDOUS have released their new single ‘Like Dreamers Do’. TREMENDOUS comprised of Mark Dudzinski (Guitar/Vocals), Ryan Jee (Bass) and Dave Lee (Drums) have received multiple plays on The Rodney Bingenheimer Show in LA, BBC introducing, Mike Rogers Show in Tokyo, Amazing Radio, Planet Rock + #1 on Pop Radio RIA Chart to name a very few. The band’s debut album ‘Relentless’ is due out early 2020 and was recorded around various studios in London, Birmingham and Sweden with producers such as Gavin Monaghan (Kings Of Leon, Robert Plant, Grace Jones). ‘Like Dreamers Do (studio version)’ was originally released back in 2018 as the first single and the band are now giving away the new Unplugged version for free until the release of the album.
‘Like Dreamers Do’ is a passionate acoustic number saturated in TREMENDOUS’ emotive and compelling musicianship. The unplugged version of this chiming tender ditty strips away the intricate guitar twinkles and powerful backdrop to allow Mark Dudzinski’s vocals portray the delicacy within this rock gem. With just acoustic accompaniment the band display the softer more emotive side to their mighty glam rock creating an intimate listening experience. It’s not all shredding solos, vaporous guitar licks and epic crescendos, TREMENDOUS have maturity and substance and the sweet unplugged version of ‘Like Dreamers Do’ is a sublime example of this.
Our Worth A Listen Track This Week Comes From Alexis Kings
Alexis Kings 031119
Alexis Kings have released their new single ‘Surrender’.The three piece comprising of Brendan Aherne (Vocals), Sam Privett (Lead Guitar) and Fabio Bocca (Drums) have previously received support from Radio X’s John Kennedy and Huw Stevens on Radio 1, and have performed on Channel 4’s Sunday Brunch and BBC London’s Gaby Roslin show. Alexis Kings debut single ‘Squire’ reached the Top 10 in several Spotify streaming charts and playlists, garnering attention from the heart of Australia’s top radio networks to the Los Angeles music scene. The band have surpassed a million streams on Spotify, with listeners in 77 countries, while their excellent videos for ‘Velvet’ and ‘Addict’ are racking up the numbers on YouTube.
‘Surrender’ is a funky glimpse of Alexis Kings’ uptempo chic musicianship. With slinky guitar lines slithering through a groove entwined bass this track has an instant strut quality. The band trade in their sun soaked sweet melodic guitar for a light classy flirtation while the steady buoyant drums bubble through the foundation. With Aherne’s velvety rasp on vocals and vibrant melty melody Alexis Kings have created a shimmering feel good gem soaked in cool suave tones and rich rhythms.
About the track Brendan Aherne comments: “We wanted to start writing songs that resonated with our electric audiences and live set. This song in particular felt like a good start, the melodies are reminiscent of an old school R&B record and it’s very bass and beat driven. Lyrically, Surrender is a typical subconscious commentary of someone depicting their frustration at ‘late night feelings’ and essentially falling short in their attempt at playing hard to get. We recorded and produced the track by ourselves. We wanted to really distinguish ourselves sonically with the next few singles, and there’s no better way than to take complete control of the process.”
Limerick indie band Lost Boys have released their new single ‘Obvious’. Lost Boys consists of Peadar Storey on Vocalist/Rhythm Guitar, Michael Meleady on Backup Vocals/Guitar, Patrick O’Donnell on Drums and Peter Corbett on Bass. The majority of the band are studying Music and English in both UCC and UL and have years of experience in the Irish music scene playing across the country. Formally of established Limerick group, A Weekend Away, the band decided to move on to their newest project with the goal of making more modern indie pop sounds.
‘Obvious’ is a sparkling indie bopper as Lost Boys flesh out their energetic indie with a youthful burst and exhilarating charm. With zest-dipped guitars jangling vibrantly through punchy buoyant drums and elastic groove on bass ‘Obvious’ is a tasty spread of effervescent indie. The infectious melody, warm vocals and sing along ready chorus make the track irresistible as the band layer and cultivate the song meticulously. ‘Obvious’ is an air punching blast of dynamite that is sure to put Lost Boys on the map.
About the track the band said : ‘‘Obvious’ is about the weird time between meeting someone and becoming official, when you’re not really sure what you are. Michael actually came up with it on his way over the Peadar’s house to work on a different song (that we decided to drop).By the end everyone had a hand in the writing of it!”
We had a chat with Michael Smyth and Hayley Norton from Belfast alternative rock band Paper Tigers about how they create their sound Norton’s amazing voice and the music scene in Belfast.
Tell us about Paper Tigers and how you guys formed as a band?
So Id be playing in a few bands at the time, I was singing and playing guitar in THVS and then playing drums in this band Bloody Apes and both bands were like crazy heavy, loud, heavy rock, punk rock kinda thing. But that wasn’t really what I was listening to at all and I had this itch that I needed to scratch, initially I thought maybe I should go to the doctor and get a cream for it but turns out I just needed to write some songs. So a lot of the music I listen to has a female vocal, I’ve always been drawn to it and I really like the female perspective in songs. I mean I like Mastodon and hearing them sing about crystal skulls and drinking blood or whatever but I also enjoy hearing about the world filtered through different eyes, for instance the girl from Purity Ring her lyrics are just amazing and that’s her own very unique perspective. I was listening to a lot of Yeah Yeah Yeahs, Wolf Alice, Pretty Girls Make Graves, Lorde, Taylor Swift, Purity Ring, Lana Del Rey and started writing these songs but writing with a female vocal in mind. Id never really done anything before that wasn’t crazy loud or heavy or fast so these songs were a pretty big departure. I was really focusing on the melody, hooks and song writing. Once I had a handful of songs I started trying to pull together the band and eventually gathered together our current band of rebels.
We’ve already been through a few line up changes but it was important to find the right people to work with. Id a really clear idea of what I wanted the band to be so it was important to get the right people. Michael (drums) and I had a mutual friend that put us together after I posted on Facebook for what seemed like the zillionth time trying to get band members. Michael plays in another band, Ethan Hannah, with Stevey(bass) so after a few bass players didn’t work out he said well what about Stevey. Then as creepy as it sounds I found Hayley(vocals) on Facebook added her outta the blue and messaged her just being like I have this band, here’s what I want to do so do you want to come down and sing. Luckily she realised I’ve a heart of gold and wasn’t just sliding into her DM’s. That all sounds pretty fast and straight forward but this happened over the course of a year and even before that Id tried a few times to get it off the ground with no luck so it took some time but as soon as we got this line up cemented we came out swinging.
Did it take time for you guys to gel and be comfortable with each other ?
Initially it was myself and Michael but we had other people then and it took a lot of time to get on the same page in terms of what I was trying to achieve and how things were meant to sound and getting parts down. But if you put 5 people in a room the majority of whom have never met each and then all of a sudden they’re expected to interact with each other, be creative together, work together and produce something, rarely is that just going to happen straight off the bat. There’s a lot of personal dynamics, group dynamics you’ve to establish, you need to build up a vocabulary with each other, reference points, you need to get used to how different people work and process things. After Stevey joined things became a lot easier because he and Michael had already been playing together, by then Michael and I had started to reach a point that we were getting to understand each other and our approach to our instruments. Then Hayley joined and it was just like this breath of fresh air and huge sigh of relief, everything just clicked and instantly sounded 10 times better. I felt like finally we could go to work now. So its taken some time to get to the point we’re at now but its all very worthwhile, we learn from each other and its very much an atmosphere of trust I feel, like anyone can suggest something and know that we’ll at least talk through it or try it. This line up is still relatively pretty new. Hayley’s only been with us since September and already we’ve recorded and done a bunch of shows up and down the country so I think that’s a testament to how well we all work together…or you know the reality is that we all hate each other, we travel in separate buses everywhere and need a performance coach like Metallica. I’m only kidding…we cant afford buses.
You guys are from Belfast, what is the Belfast music scene like for an alternative band?
There are actually so many great bands coming out of Belfast right now, I really feel like there’s this resurgence coupled with a real want and desire for alternative/guitar driven music again. Music is always cyclical so it always comes round again but there are a bunch of great bands around right now so its cool to be a part of that. Even where we practice we’ve got Sugarwolf and Mobwife right down the hall. New Pagans are a personal favourite and Fagash McCann are one of the best bands around right now. Similarly for gigs there feels like a lot more opportunity to play shows at the minute where as even last year opportunities didn’t seem as abundant but now more bars are having bands play which is great and more people are stepping up to put shows on. Last year I started my own promotions company, Old Crows Promotions, and that was really born out of not wanting to wait around for shows to land in our lap. If we wanted a show then I can put it on, promote it, play it and get some of my friends to play it too. And also wanting to do my part to help promote home grown talent and giving them a platform and resources to help reach people. We’ve been lucky that people are responding well to the band and offering us shows but I’ll continue to put shows on. So it’s a very healthy scene at the minute, I think its fantastic when your home grown scene can spawn some of your favourite bands.
You guys have a powerful sound with gritty riffs, pummeling drums and floor rumbling bass how did you guys find and decide on your sound?
We just show up plug in, turn up and that’s how it comes out. I’m kidding but in a way that’s kinda true. When I started the band I had a very definite idea of what I wanted it to sound like, then I took them to practice and all that changed. Once everyone brings their requisite skills and talents to it they put their own sonic footprint on the song. Especially from having a few line up changes, singers, bass players, we went from two guitars down to one, you can really tell how much different players influence the sound. So the sound of the band is definitely the sound of everyone hammering away with their respective tools. The band is still evolving and there were a few songs that never made it out of the dropbox folder because they just didn’t fit anymore. The longer we’re together the more cohesive a sound we’re starting to develop, all the songs still sound like us but especially over the last few I feel we’ve taken huge steps forward in song writing and carving out our own signature sound where stylistically its very evident that its us. That’s something I want to continue to build on and further refine but at the same time not be limited by, there may come a time that we want to incorporate some salsa jazz fusion elements into our sound or an aboriginal choir with the philharmonic orchestra and when that time comes I hope we can embrace it. That’ll be our Sgt Peppers record!
Talk us through your song writing process and how you guys craft your tracks?
I write the songs, so ill have the track written and arranged front to back by the time I bring it to the practice room. So I’ll play through the song and then we’ll start to work on parts, sometimes those will come really quick and we’ll all just click in and everyone’s on the same page sometimes it takes a little more time. Both ways have their merit because sometimes you’re like wow that was easy, new song done! The other way though can give rise to things you wouldn’t have expected or thought of which is great. Especially recently, and because we’re able to communicate with each other well now, we’re able to push each other, maybe a part is a little pedestrian or someone feels a part could be better then we work through that, so a few times now Ill have brought the song in and the arrangement has changed now or new parts have been written in the practice room and its been really fun and exciting that push and pull creating something together. Then lyrically and melodically I’ve wrote a few tracks but since Hayley joined she’s really taken up that mantle and writes the majority of lyrics and melodies now we’ll still work through some parts together but its great she has her own voice and style and that comes through. Again this harkens back to the band evolving and us still figuring things out but the longer we’re together the better the whole process becomes.
You recently released ‘Gucci Smiles’ talk us through how that track came to fruition?
Really this whole band comes down to me changing amps, I used to have this Orange half stack, 4×12 cab and head. It weighed a ton. So I got sick of lugging it around and decided to change to a combo and bought a Fender DeVille 60w 4×10 combo. So straight away my sound changed dramatically and then instead of playing in drop C I was like I bet a Fender in standard tuning going through the DeVille would sound great. So I couldn’t afford an actual Fender so I bought a Squire and started playing around with the amp and looking for different sounds from the amp and during messing around one day I just hit on the riff, it was just one of those songs that feels like its being given to you. Like you’re not really writing it but something is just moving your hands to where they need to be, maybe my house is haunted and it was a rock and roll Ghost type moment with Patrick Swayze guiding me, thanks Paddy! So it was the first song I ever wrote for this band. Then I can’t help myself with pedals so put some fuzz on the verse to dirty it up cause we can’t have it *too* clean. That was one I wrote the melody and lyrics for, I remember sitting at my desk in work and writing the lyrics super fast. I remember thinking I’m so glad I don’t have to sing ‘Dolla Bills, Gucci Smiles’ because it’d sound so dumb if it was coming from me, luckily when Hayley sings the song it sounds totally badass!
You released a video for ‘Gucci Smiles’ which captures the raw live aspect of the band how was the video making process for you guys?
It was so easy and simple, I’ve worked with Bob Logan, who made the video, a lot now. He done all the THVS videos and he does a lot of our photography as well. He’s been working with Tigers from the start so he’s basically the 5th Tiger at this stage! Bob has a great eye and spent time getting to know the song before coming down to shoot the shows so he knows in his head how he wants things to play out. Its great to be able to trust someone just let them do what they do and know whatever they come back with will be great. I think having a live video as the first video lets anyone who hasn’t been to a show yet have a taste of what its like to see us live. Hopefully encourages them to come along and see it for themselves, a video is one thing but actually live in front of you we’re a very different thing. So really all we had to do was show up and play our show and let Bob do the rest. We’ve had an amazing response to the video, we’re in the process of planning our second at the minute!
Hayley , you have strong command over your powerful voice. Although your voice is powerful, it has a cool tone. Have you always had this strong vocal ability or was it something you tried to achieve over time?
Thank you so much! Well I definitely always had a voice, but when I reached the age of 12 I realised that I had a strong one and it did need a lot of work! So year by year I pushed myself, I sang a variety of song genres and styles, participated in competitions, self taught vocal exercises and that allowed me to gain more strength and control over my voice, on top of being a high energy performer – stamina is essential and I strive to improve every day!
What do you guys bring to your live shows?
Instruments, they’re a pretty quintessential part of it. Seriously though, we bring a lot of energy and passion to the stage, from the second we hit the stage to the last chord we don’t stop, we’re in constant movement and I don’t think we could stand still even if we wanted to. The songs illicit that response from us, there’s nothing planned or contrived about it, no synchronised jumps or Kiss style swaying, whatever happens on the night happens. Music is a really emotive thing and it should make you feel something so I’ve always thought if I don’t look like I’m enjoying myself up there then how could anyone else. Playing live is really what I live for and its really where this bands lives and thrives, recording is great and its fun but those 30/40mins when your up on stage is really where we feel the most alive. The interaction between the 4 of us on stage and the interaction with the crowd is what makes shows special. We’ve been lucky in that the shows have been well attended so there’s always that back and forth between us and the crowd and obviously we thrive off other people enjoying the music and cutting loose, dancing, singing along. Its amazing after we play and someone tells you that they really enjoyed this song or that song. No one ever has to do that, so the fact someone feels so compelled to do so is pretty great.
What is next for Paper Tigers?
We’re already so busy this year, we’ve a show in Bennigans, Derry 28th January, then Feb 7th we’re playing the Empire in Belfast and the next night we’re supporting Hundreth in The Palm House in Belfast, March 27th we’re in Johnny B Goode Music Lounge in Antrim, June 6th we’re in Dublin for Rage Fest. Then we’ve a few shows we can’t talk about yet. We already have more songs recorded so we’ll have two more singles out before the end of the year with videos to accompany those. We plan to record again, we’re always writing so the plan is for at least another 2 songs. We’re in the middle of putting some touring plans in place slightly further a field. So we’re super busy, if it was up to me we’d be playing every week but I suppose people need to have lives or whatever..
23-year-old singer-songwriter Mason Summit has released his new single, “‘Round January”. The track is Summit’s first release since 2018’s critically-acclaimed protest song, “Thoughts & Prayers.’Round January’ was engineered by Jim Doyle at Doyle Audio, and features Jim Doyle on drums and tambourine with Harrison Whitford on slide guitar.
’Round January’ is an emotive, sweet little ditty that drifts delicately on mellow, soft instrumentation as Mason Summit showcases his vulnerable progressive musicianship. Warm acoustic guitar strums through the verses while the lamenting slide guitar and steady beat create a beautiful melancholic texture. The track gradually builds into a passionate chorus as Summit slips into his honeyed falsetto. With its dreamy woefulness and subtle instrumental intricacies Summit creates a lulling pool of hopeful-hued melancholia to submerge ourselves in on a dull January day.
About the track Summit Says: “I wrote the song in Sean Holt’s songwriting class at USC. The prompt was to write a song for our eighth-grade selves. My father died in January of 2008, so it’s always been a difficult month for me. My goal with ‘‘Round January’ was to write a hopeful song while still acknowledging how hard it can be to stay positive. The song especially resonates with those who experience Seasonal Affective Disorder in the fall and winter months.“
Galway indie band City Victim have released their new single ‘Screaming’, along with the announcement of a string of gigs around Ireland and UK, as well as playing at Whelan’s Ones To Watch music festival in Dublin tonight.
‘Screaming’ follows City Victim’s slinky dreamy indie as they create a lush prismatic soundscape with psychedelic hues. From the twinkling guitars to the groove-riddled bass the band weave and refine their sound with tight intricacies and lush sounds to create an enriched indie gem that intoxicates, asphyxiates and lulls with rich intensity. The reverb laced vocals coo and resound through the shimmying percussion and buoyant beat as the pop sprinkled melody drifts elegantly and sweetly into the ears. The band have layered the track superbly mangling the bass line tightly between the beat, guitar distortion and shimmering soundscapes to create a mind numbing, dizzying and mesmerising number.
David Keenan graced the hallowed halls of The Olympia Theatre last night. A singer songwriter with poetic lyrics and powerful vocals – you might think his set would be quiet and poised with brief hand claps from a drowsy lethargic gathering however that’s not how Keenan rolls … nor his followers for that matter. Exuding mesmerising rock ‘n’ roll charisma, Keenan brought the roof down as he filled The Olympia Theatre with his vibrant, emotive and passionate tunes. The crowd hung onto every word bellowing out the lyrics, each syllable meaning the world to them and all of this was met with humble gratitude from the headliner.
Keenan stands behind a white screen with just his silhouette visible to the crowd. The audience cheer in anticipation. Many of them gushing “ I love him… he’s really pretty” as he poses ready for the canvas to lift and relieve the suspense. Of course Keenan maintained the solo stripped back intimacy that has gathered this dedicated following over the years, performing ‘Big Boys Must Cry’ and ‘Full Stop’ with no band and just his guitar. He is comfortable in the picturesque setting of The Olympia. His larger than life persona and poetic lyrics resound throughout the venue touching every single person who was there as the crowd bellow back his lyrics in worship.
“We made it to the Olympia Theatre, we did this together let’s celebrate together tonight as one“ and that was certainly what it felt like – a massive celebration of an artists well deserved, stellar climb to a sold out show in one of Ireland’s most prestigious and sought after venues. Keenan holds the audiences attention with ease as they await with bated breath to clap, sway or sing along. He stands majestically onstage – prancing, spiraling and jumping creating entertainment with every dramatic hand flail or stride. Like all the best shows a lot of planning went into this performance. There was a joyous gradual beginning, an intermission of sorts with a wonderfully talented Aerial Hoop performer, a thrilling second half and phenomenal encore which saw Keenan return to the stage being cheered like a hero. Members of the crowd were embracing, shouting “go on lad!” and “love you Dave!” as he belted out powerful favourites ‘Lawrence Of Arcadia’ and ‘Postcards From Catalonia’.
Live, Keenan’s tracks ignite into beautiful flairs of wonderful colour and vibrant textures as he fashions the audience into a circle of friendship and comradery. With a band behind him Keenan is unstoppable.
As the first half of the set swings into ebullient motion we see the familiar side to Keenan’s musicianship, the folky-hued, more traditional-tinged aspect. A lush and utterly mesmerising rendition of ‘Two Kids’ sees Keenan duet with Laura Burke. Their sweet, warm tones melt into one another, gently drifting the track to a new, exciting and beautiful dimension. This time stopping arrangement is a special moment within the set list and members of the crowd hug and sway while others weep. Keenan writes tracks that evoke a multitude of emotions but this specific moment took the crowd from dancing and singing to embracing and swaying in teary joy while electric bulbs and flashing lights illuminate the stage.There is a professional yet passionate approach to Keenan’s live shows that is quite admirable. He knows what gets his audience hyped up but there is an authentic and heartfelt backbone to his polished performance that leaves a raw and honest residue.
The second half of the set brings drums, guitars (with some shredding solo’s) and a hint of grit into the show. Here Keenan tries his hand at being somewhat of a rockstar of sorts. He succeeds.A shout of “ haon, dó, trí, ” from Keenan rumbles above the drum thuds as ‘Unholy Ghosts’ initiates the more dynamic aspect of the show. There doesn’t appear to be a soul in the venue who doesn’t know all the lyrics to every track on the recently released ‘A Beginner’s Guide To Bravery’ album. ’The Healing’ and ‘Good Old Days’ have the crowd in a flurry of adored mania. ‘Alter Wine’ is utterly enthralling live – Keenan delivers the track with intense, earnest vigor as his strong vocals ricochet over the intoxicating melodic riff on guitars and strings.”Join hands with the person next to you.. lift them up” Keenan shouts as the entire venue sings the “Rain, rain, go away, I’ll come down another day” lyrics of ’Love in a Snug’. He doesn’t compromise quality as his striking vocal range refuses to falter while being met with mass applause for the lengthy notes in ‘ Tin Pan Alley‘.
The encore brings more tears as a woman near me announces “Oh my god i’m going to cry” for ‘A Corner Boy’s Lament’ and yes she absolutely did. As she sobbed in the audience, on stage Keenan is giving it his all with his acoustic guitar. He tenderly presents this emotive song, perhaps unknowingly, creating or connecting to a special and personal moment with a lot of his audience. ‘James Dean’ and ‘Badlands’ continues the ecstatic sing and clap along while ‘Subliminal Dublinia’ aptly brings the show to an explosive finale as Keenan shouts “this is the end of the beginning not the beginning of the end”.
There is no denying that Keenan deserved to be headlining The Olympia last night. His musical prowess is inspiring. He has the ability to rally and passionately ignite the audience through his powerful, emotive tracks and meaningful lyrics. As the confetti cannon erupted into the venue the lights illuminated the crowd’s smiling, proud faces.They cheered and applauded this young man who has worked relentlessly to craft and carve his sound without compromise. Keenan has created something unique that binds strangers together and provides an atmosphere of elation. His tracks are his medium of release, a therapy of sorts but they are perhaps so much more to the crowd of fans gathered in that venue last night.. ready to celebrate this milestone with him.
Author : Danu
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Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
