Venue nightmares for musicians

Any artist who plays live will appreciate that venue experiences can vary massively and at times can render an artist speechless and not in a good way either… Here are some real life observations that you really couldn’t make up

The duo gig in the fish market

Many years ago I was asked as a duo to do a set for a charity in Leeds market. This was in the very early days of playing live when I assumed that any host would have sound gear sorted for any musical event. We turned up to see that there was a PA at the back of the open air market with all market traders going about their business as usual, so not eactly what we anticipated. There were literally three people listening and a dog. Wose still throughout the 45 min acoustic set, there were constant chants of ‘GET YOUR FRESH FISH TODAY, MISS THIS AND YOU’LL MISS YOUR WAY HOME” Its like some mad dream, where you wake up and think ‘WTF was all that about?” except this was no dream…

The bloke said you didn’t need a PA

In the early days of playinmg with the 5 piece Caravan of Dreams ensemble we did a bunch of local gigs to warm up before an album launch. One was in a small tavern that would make for a low key gig and seemed like a good plan. I always like to arrive early ahead of the rest of the band and meet up with my sound guy. Experience has told me to always bring your own sound person for a good performance and personal sanity. When I landed Carl (the sound guy) seemed to be busy taping up some speakers which seemed a bit odd. On asking him about this he commented “They said you didn’t need a PA for the evening, so I’m having to put together a work around so the audience can hear you. They loaned the house PA out for the night!”

Monitors, BUT no kettle leads to be able to use them!

I assumed that longstanding venues that had been in existance for decades, would have basic gear in place for bands. I have since learned ‘ASSUME NOTHING!” We again turned up early noting once again it was a tiny stage (but we are used to that) and started to set up the PA. We found the monitors, but no leads to plug them in. Once again nobody in the venue seemed to know where these may be located…

Arts centres? <shudder>

Ok, lets not denegrate all Arts centres, BUT often these are run by volunteers and this can make for some “interesting experiences.” On my first ever duo gig, we had “Pete, the sound guy” My partner for the evening (on seeing him) spouted “Oh no its Pete!” This meant nothing to me at the time until we started playing and I realised her concerns. We had essentially two sound settings for the evening. the first was massive feedback which was highly unpleasant for the two of us on stage as well as the audience. The second option was NO SOUND AT ALL IN THE MONITORS. I was on stage playing to a packed room and I could hear exactly NOTHING! At another recent arts centre experience, the stage lights didn’t work and the volunteer commented “Yeah mate, that board has been broken for ages”

Ukulele festival experiences?

My band “The Small Change Diaries” played “The Grand Northern Ukulele festival twice. There was a strict limit on 20 minutes for any artist set, so we may squeeze in 5 songs at best. In both instances there was a problem with sound either in vocals or in the instruments. Again the problem was mostly not having professional engineers and two little time to ensure the sound was at a good standard. After the second experience I decided that I’m done with such events as it doesn’t make for either a great playing or listening experience!

Lets end on a positive note

Despite these nightmares, there have been some great experiences. Playing The Lagoa Guitar Festival in Portugal was terrific. The venue had been built for acoustic acts and the sound guy was first rate! In Leeds “The Old Woollen” proved to be a superb venue and I’ve done support acts for Martin Simpson and Jon Gomm, two artists who insist on great sound. I have learned to pick and choose venues and to look at Fri – Sundays for live events. Post covid there is from what I see more of a reluctance to go out mid week. I also now only play at and/or attend events where its a great listening/watching experience.

The Heartache covering these tracks live in Leeds

We just finished our first show playing material from the “Covering these tracks” album. This is an exceptional ensemble, “West Yorkshire meets West Coast USA”

This is a different feel and vibe to other ensembles to date and its all acoustic and a 6 piece band. For once I’m only playing on half the set, the rest of the time, I’m up front doing vocals. Its a very different experience, but I’m loving it. Its like finding my own “E Street band” with Harry Orme as MD playing guitar, Dave Bowie on bass, Rich Ferdi on percussion, Towse on vocals and Corwin Zekley on violin.

Its a unique experience fronting a 6 piece band and veryof course the interaction between players is crucial. Towse have played together as a duo for years and Harry, Dave and Rich are an extraordinary trio. I’ve never felt that I’ve been in safer hands and of course Grace Fellows aka Towse is an extraordinary singer with a superb musical instinct. We’ve already working on the follow up to Covering these tracks including Steve Earle’s “Fearless Heart” which we played on the night live. This project continues to be really inspirational and allows me to dig into decades of listening to great tracks. Volume 2 of “Covering these tracks” will include songs by Nick Cave and Fred Eagelsmith among other artists. Harry Orme has become a game changer in this project, a brilliant musician and all round nice guy who is a joy to work with.


Towse aka Grace Fellows and Corwin Zekley are a fantastic dynamic force and before this live event they had played 40 gigs across the USA. I’m constantly amazed by their performances, they are unpredictable, provocative and technically superb. I was delighted to have them support Jon Gomm last year adn look forward to new live shows in 2024. We are on a roll in terms of recording and they never disappoint in their session work. Playing live with them is a wild experience and they sound amazing as part of the full band. I’m sure we will record a lot more tracks together.

Live reaction

The audience reaction to the set was fantastic and I had scores of e-mails and private messages the following day. This is the first time I have ever played material by any artists other than myself and performed only doing vocals. Fronting a band of this quality is quite an experience and its an absolute joy to be play with them both live and recording in the studio. We’ll be doing more shows in 2024 and releasing more material.

Choosing live gear for gigs

In just under two weeks time I’m running and playing at the Music for the Head and Heart showcase in Leeds, with my band “The Heartache” along with Towse and Harry Orme.

This evening will showcase the Covering these tracks album released at the event. The material is all acoustic, so I have to make some decisions on which gear to use in the live situation. I’ve learned over the years to think really carefully about what works best in a live situation. When I played Lagoa Guitar Festival main stage, I use a Red Eye pre amp straight into the PA with my two ukuleles and with a great sound engineer, I had great sound. This is the most stripped down set up of all set ups, that still delivers sonically.

Keep it simple

I’ve learned to keep live gear choices simple, or there can be all manner of problems. I few years ago I ran support for an artist who insisted on a large number of acoutsic instruments all very different and with respect not of the best quality. The sound engineer was tearing his hair out at the soundcheck that wend on for almost two hours and even after this there were major sound issues including an ongoing loud hum that made for a really poor listening experience. My ensemble were left with just ten minutes to do a sound check, but we had perfect sound as we had much more reliable gear and kept everything simple.

I had just two guitars and used a Supro Comet amp with just one pedal used on one song. Good quality reliable leads are also essential in these situations. Too many variable factors is a recipie for disaster. If I am using a few pedals a “Quartermaster” isolation unit is essential. This keeps each pedal isolated from the other pedals, so its total peace of mind for any sonic issues.

For acoustic sounds, there’s only one choice – Henriksen bud amps

For any acoustic gigs, including the upcoming Leeds showcase, the Henriksen amps are the only choice. I came across these years ago and have never looked back. Previously I’d used Schertler amps that sounded good, but nothing like the Henriksens. Not only are the Henriksens a fraction of the size, they are also a fraction of the weight. I have a couple of two channel bud amps and a one channel blu unit as well as a bunch of extension cabs. There’s nothing that comes close sonically and they offer a huge range of sonic options and crucially are 100% reliable.

The Parker Bronze

For the Music for Head and Heart showcase, I’m gonna use my Parker Bronze guitar. This is a rare and ususual guitar, favoured by Joni Mitchell, but vert rare these days as they are no longer made. They are super light and the Parker Bronze has a great bespoke Fishman pickup that creates a terrific acoustic sound that is tough to get in a live situation.

Unusually for me, this will be my only instrument on the night, following my own advice to keep it simple!

Are people losing confidence in attending live events?

In recent times the subject of people losing confidence in attending live events has come up in many conversations. A well established local artist commented that since covid, many people are wary about events being cancelled and so wait until the last minute to book, which creates a nightmare for promoters. I also notice a number of festivals struggling and pleas going out for people to book tickets early as they had failed Arts funding bids. I’m a longterm lover of music and in recent years started to explore “the music business” and how best to promote my own work and other superb artists. No one person has the answers, but here are my latest thoughts and observations.

Factors creating a loss of confidence

Covid is just one of the factors that have created a hesitation in booking on live events. With many gigs and festivals being cancelled, many people are wary about buying tickets in these tougher economic times. One friend and colleague was not best pleased in hearing that a niche music festival had indicated that one of the main international headliners announced last October, now would not not be playing. She can’t get a refund and the festival still has not announced the artist line up for an event that is just a month away. Such actions don’t inspire confidence in future bookings and in my view its not smart business. Yes, there can be situations where a change of artist has to take place, but the same event approached another international artist and wouldn’t confirm the booking, so they kept their options open, which is in my view pretty disrespectful for the artists as the festival approached them in the first instance…

Funding challenges

In recent years I’ve noticed that a number of niche festivals have had a heavy reliance on obtaining arts funding. The key word here is “reliance” The challenge for any promoter is surely to market the event in a manner where they can cover all costs. Idealisma classic risk/reward situation in business. Lets remember that “the music business” is like any other business in that its a case of supply and demand. Promoters take the risk on funding and event, but also have the chance to financially benefit from the event being a success. I’ve run numerous music events and always taken the view that the buck stops with me personally in terms of the funding. All artists will be paid as promised regardless of how many tickets are sold. At times this can be a reasonable financial outlay, but that’s what’s needed to maintain confidence from both artists and attendees. I have massive respect for any promoter, it takes real nerves of steel to engage in such activity.

Idealism v reality checks

I come from a business background and this is invaluable in figuring out how to run events. As previously mentioned its a case of risk v reward. In the theatre business its generally accepted that you need to sell 80% of tickets to make a profit. When running music evenings and signing contracts for known artists, I’m aware of exactly how many tickets we need to sell to break even and always ensure that the marketing is on target to make any event successful. I don’t claim to know everything about promotions, but all events to date on the Music for Head and Heart and Green Eyed Records have sold out.

Not everyone appreciates the benefits of sustained momentum in marketing. I agreed a few years ago to run support for a local artist and to fund half the cost of the venue and let him have 100% of the door, even though I was paying my band out of my personal finances. I also ran a good online marketing campaign again at my cost. I started to notice that with 6 weeks out from the event, the headliner wasn’t really pushing the event and although all his superfans had booked, we could still generate another 50% in attendance and reach a wider audience which he’d always complained about not having. When I voiced my opinion on this and pointed out it would also be a big financial bump for him as well as bringing in new interest, I met with massive resistance. Some people just don’t understand the basics of promotion and are so stuck in their own idealism that they will never reach a wider public. The tragedy is that they will endlessly complain about the lack of public interest in their work, even though their own limited thinking is the cause of the problem!

Collaboration is the key

When I set up Green Eyed Records, I realised that the best results come from collaboration. I’m massively grateful to established artists like Martin Simpson and Jon Gomm to be hosted at the Music for Head & Heart showcases. I’m also grateful to music heavyweights like Tim Booth and Jim Glennie as well as world class journalist Sylvie Simmons for discussions and advice. To quote a classic Japanese proverb – “No one of us is smarter than all of us”

Hosting and choosing live music events

Less is more

During covid I decided that I was no longer going to play local events mid week and instead host and run events myself. The reason for this is that I’d rather not play at all than to an audience that is not really there to listen to music. Don’t get me wrong, past years of playing the local circuit has been fantastic for building up playing skills and becoming at ease in such situations. My producer always said “one live gig is worth ten rehearsals” and he’s 100% correct!

These days I organise live music events on either a Friday or Saturday night and make sure we have a great venue and excellent sound. There’s nothing worse than attending an event where the sound is terrible. Even some well known venues can have horrible acoustics and/or sound systems. I’m done with fighting against the playing environment and so “less is more” in such matters – better quality events. The other consideration is that I am finding that people are more picky about what they attend, which is no surprise in these tougher economic times.

Work with great artists who are true professionals

I set up Green Eyed Records and Music for the Head and Heart to promote and share great music. There’s a lot of great music out that that in my view deserves to reach a wider audience and these platforms assist with making this happen. At times it can be a serious financial undertaking, but I’d rather work with professional artists who can bring a great live show to an audience. Pre covid I hosted two Music for Head and Heart events with local artists before deciding to crank things up by working with more substantial artists who have established audiences. The first event was last year with the brilliant Jon Gomm which sold out. I was also pleased to invite Towse to be a support act along with my own Heartache ensemble. This was a fantastic evening and everybody brought their “A game”

This May I am hosting Martin Simpson at The Old Woollen with my band The Small Change Diaries running support. I’ve been doing substantial promotion for the event and Martin was good enough to agree to shooting a video promo and interview which is helping to drive interest. Tickets available here

Quality control and pricing for best value

As soon as you start to run live music events for hundreds of people, quality control over who you host and pricing become crucial. I hosted artists in the past who are nice folks, but totally lack the skills to work to create a great evening for a more diverses audience beyond their own limited fanbase. Some artists are terrific to work with and I’m delighted to share all my promotional contacts, marketing skills and other benefits. In contrast some are a nightmare to work with and have the unique ability to “snatch failure form the jaws of success!” You can always spot such folks as they are endlessley complaining about their lot and how unapreciated they are by the wider public!

Pricing events is also a real art and its really important to pay attention to the figures. Its important to me that everyone is financially rewarded and the audience get best value for money. Added value like free parking can really help attract an audience and I have learned that pricing will simply filter who attends the event. To date all the events I have run have sold out, but that’s no reason to take one’s eye off the ball in such matters.

This year I am running a second music showcase with the brilliant Towse and Harry Orme, where we’ll showcase a great new project. More details soon and tickets available here

The Heartache at The Old Woollen Oct 7th

My producer Carl Rosamond always says, “One live gig is worth 10 rehearsals” Never has a truer word been spoken! On Oct 7th my band Nick Cody & The Heartache with guests including Towse did a support slot for Jon Gomm to a sold-out audience of over 200 people at The Old Woollen in Leeds.

This was for me a baptism of fire for a number of reasons, some of which were self-created and some of which the universe threw in my direction! It was a true white-knuckle ride, but we were well received, and it was a joy to play with such excellent musicians and showcase some new material including the title track from the new Heartache album. With covid the band had rehearsed but not played live for a whole year, so this was quite a challenge.

Set list

The setlist was

All is fine ’til the world goes pop

That gal’s as cool as fuck

Hold that thought

Slow news day

They don’t mind

This is a pretty diverse range of material and I’m always mindful that we need to be concise in what we play when doing a support slot. Once again, the Supro Comet amp sounded amazing and to best the best live guitar sound I have had to date. Special thanks to everyone who came out to see us and for Towse and Jon Burr who sat in on the set.

Towse did a great opening set and Jon Gomm of course was fantastic as ever with his performance! All in all, it was a great night and the third Music for the Head and Heart showcase that sold out.

Music festival experiences and why I’m mostly not a fan these days…

The last major music festival I attended was many moons ago and was the Pink Pop festival in Holland. It was a great line up and my favorite band was Morphine who opened the festival. I also got to see Crowded House and Bjork who were both superb. A few decades on, I’m less enthusiastic for a variety of reasons both as an attendee and/or a performer.

Great menu, but not perhaps the best “meal?”

One of the advantages of attending music festivals is that you get to see a whole host of acts all in one place. That can also be a minus, when the set lengths are usually pretty limited. As a music fan I like to see a full artist set and usually festival sets are massively reduced in terms of length and there’s not a great opportunity for proper sound checks. As a performer a very short set length can be challenging, which it itself is not a bad thing, but the set is under 30 minutes, these days I’m not really a fan. This is because everything tends to be a bit hyperactive in terms of artist changeovers and my own research suggests that the public also are not fans of really short sets.

A good example of this was playing one of the ukulele festivals in 2016 and 2017. It was a good experience for the band as an early outing, but on both occasions there was an issue with sound on stage. As an artist its extremely frustrating to be squeezed into doing a 20 minute set and find you can’t hear your own instrument and/or vocal!

This way of working in booking loads of artists for real short set lengths may be great for promoters who can show a big range of acts on a poster, but its in my view not the best experience for artist and attendee. Yes, you can argue that festivals remain very popular, but I would respectfully suggest that often the primary focus is not musical enjoyment, but rather a social gathering. That’s 100% a valid reason to attend, but not my personal preference!

Good value for money?

Another reason why I’m mostly not a fan is the cost of attending such events. Even the small niche music events can be 50 – 60 sterling for to get in, but then there’s often also additional costs in, accommodation and food costs. Some of these events charge extra for workshops (which can be just 60 minutes which is not ideal for any actual learning) and so costs start to crank. Quite quickly this can become a three figure cost, which is tougher in these economic times. Of course this is 100% a personal view and clearly many will be happy to pay what I would consider huge amounts of money to stand in a field where the sound of the artists is not great. The alternative is an indoor events can also be not ideal in this covid era. I may have had a different view twenty years ago, but these days I’m far more picky!

Super fans?

In relation to UK festivals, research suggests 28% of festival goers are festival super fans, attending an average of four festivals a year. To define the true festival super fan, its useful to look at several factors including their average festival ticket spend, how many festivals they attend, how influential they are in getting friends to go, how often they go back to the same festivals. The following stats are interesting to say the least –

  1. Festival Super Fans (28% of all festival goers; attend an average of four (3.9) festivals
    each year)
  2. Moderate Festival Goers (34% of all festival goers; attend two festivals each year),
  3. Casual Festival Goers (38% of all festival goers; attend one festival each year).

The effect of covid

Although covid 19 is not highlighted so much in the news, covid remains a real problem for many artists. Here are just some of the artists in 2022 who have cancelled festival appearances –

In recent discussions with Jim Glennie from James, Jim confirmed how covid remains a real problem for major artists. As Eric Clapton discovered, regardless of your vaccination ideas, the virus really doesn’t really care and you can find your entire schedule cancelled often at short notice.


Of course these are totally personal views and I’d rather be say in The Village Vanguard with 125 capacity, all seated and excellent acoustics! On leaving the event I can hail a cab in 5 minutes and not be queuing for hours to exit the festival location! My interest is always for the love of music and seeking out the best environments for this. I’m not ruling out attending any such events or playing at such events in the future, but I’ll be pretty selective in my choices.

Audience with hands raised at a music festival and lights streaming down from above the stage. Soft focus, blurred movement.

“Caveat Emptor” – A cautionary tale about music promoters

In recent times I’ve become increasingly aware of individuals setting themselves up as “festival and music promoters” who in my opnion (I’m being polite here) lack skills in making such events viable. Of course this is I suspect a minority, as there are many great, experienced professional promoters, but as the old saying goes “You couldn’t make it up”

What follows is a cautionary tale…

Pesky details…

A friend of mine was asked to find acts for a festival and started to leverage his contacts to ensure that the event had the best available artists. Anyone in the music business will appreciate that professional artists will usually be booked up during most weekends, so its important to book well in advance. In this instance he only had two months to help out this promoter, who had left it to the last monment to secure musical entertainment. Organising musicians is a bit like herding cats at the best of times, but those of us who love music mostly enter into such activities out of love for music promotion rather than financial interest.

My friend’s alarm bells began to ring when the promoter started ducking answering basic questions that any booker and/or artist would ask in such a venture. Lets be clear, we are not talking about forensic detail here, but rather common sense considerations for appearing at a festival. I know from running Music for the Head and Heart showcases how important it is to define expectations which of course is standard business practice in any industry including the music business.

The main website for the festival looked great on the surface but had no actual detail about what was being offered at the event. The homepage suggested “75 classes and activities” as well as “music” would be available, but I still can’t find any actual details of who or what will be appearing on the weekend! There are also no previous festivals of this name, so no momentum from days gone by to ensure good audience attendance. Of course its possible that people will flock to this first time event simply through word of mouth, but in my opinion that would be highly unusual…

Checking online for promoter’s credibility and experience

In this internet era its easy to check the credibility of any business online and for musicians its essential to check how and what you will be paid for your own peace of mind. The first alarm bell rang when the promoter was shifty about confirming in writing to artists rates of pay. He’d confirmed verbally to my friend, but ducked putting anything in writing to artists who were interested in playing. This does not inspire confidence and now the real danger is that my friend the booker could be left having to deal with the financial aspect of paying the artists, especially as artists were asked to invoice after the event had completed!

The second alarm bell was when I looked into the financials for the company which claimed to have been trading for 7 years and had run a series of events. The reality is that the company had only been incorporated in March this year and had zero trading history. The head of the company also was misrepresnting himself on business social media in this respect stating he’d been owner of this company for 7 years.

The third alarm bell rang when I looked at social media for this guts promotion business and found very little activity and/or engagement.

If it looks like a duck…

As the old saying goes “If it looks like a duck, has a beak and quacks like a duck, its probably a duck”

The lesson here is to scan for what I term “the elusive obvious” Its possible that a weekend festival could be really successful and attract a lot of exhibitors and artists without any contracts, marketing and promotion, but in my experience that would be a first. The reality is that any event, even if its an evening, never mind a full weekend, needs a great deal of work and attention to make it happen. In this instance neither is in place. As the saying goes “fail to plan, plan to fail”

These days many people are still apprehensive about attending any events even outdoors, so its crucial to make such opportunities attractive and that means giving detailed content on what you can expect

Good manners make for good outcomes

I come from a background in business and appreciate that we can all have different opinions, but good manners are always useful for good outcomes. When a promoter asks for help and then adopts a “don’t bother me I’m too busy to talk to the likes of you” approach, then that;s not good manners or good business.

In this instance the promoter has lost the goodwill of my friend the booker as well as all the artists who were willing to support the event. Its a perfect example of self sabotage and I note that one of his previous business concerns was dissolved in days gone by. Its a shame and a missed opportunity as this character managed to wonderfully snatch failure from the jaws of success. He would have had (note past tense) a host of different well connected artists promoting his event for FREE, but is too unaware to grasp the opportunity.

The lesson in all this is to define expectations and although we may agree to disagree, its always those pesky details that are important to ensure the success of any venture…

STOP PRESS – The terms and conditions for this festival have this clause

“If X festival is cancelled in its entirety due to any unforeseen circumstances for example covid related lockdown, Ink Events Ltd has the sole right to reschedule the event or issue partial total refund or NOT ISSUE ANY REFUNDS

Note “any unforeseen circumstances” is pretty vague and most people will not dig into the detail here. To not issue any refund is highly unusual. Two words spring to mind-

Stop Press!

The Terms and conditions have now been amended. The event has now been flagged as “sold out” but still there is zero mention of any actual workshops or musical artists. The promoter when questioned becomes extremely defensive. Make of that what you will…


Unsurprisingly the event is now cancelled, according to a post on FB, BUT the event is still live on the promoters site and shows as “sold out” They now promise a return for 2023. Its a masterclass in ineptitude and a perfect example of how not to promote events. Here even basic elements were never in place for this to be remotely viable. CAVEAT EMPTOR!

Selecting future live appearances in the covid era

Covid 19 put the world on pause and for the last few years. After many years of playing local gigs, UK festivals and overseas festivals and gigs, I’m now rethinking opportunities for playing live. There’s a real joy to bringing music to a live audience and to date we’ve had many superb live opportunities with different ensembles, including playing at The Lagoa Guitar Festival in Portugal, a number of sold out album launches and some solo appearances in New York and Nagoya.

One live gig is worth eight rehearsals

My producer Carl Rosamond always chanted the mantra “One live appearance is better than 8 rehearsals” I never really understood this until we started to play out in live venues. Its been a fascinating journey from the initial baptism of fire, when after a few local gigs, I found myself on the main stage at an international music festival. On that occasion, I learned more in 45 minutes than in the first year of rehearsals. When I look back at the footage, aside from playing everything at speed, the performance even in these early days was pretty solid.

Less is more

In the last two years, I’ve only to date so far arranged one live outing, this time with the new Heartache ensemble. This was an opportunity to try out some of the new material. I’m pleased to report that the set was well received and the material stood up really well in a live setting. One of the benefits of playing live is that you discover very quickly how well material is received by the general public, especially if its not your typical fan base.

To date its been fun playing local venues, but it can be a lot of work and crank up some costs, especially if you have a policy of paying the band regardless of income from any venue. The benefit is mostly a massive education in what its like to front a band to entertain an audience. I’m lucky to be playing with many superb musicians, which has meant that I’ve really had to up my game musically, especially as I am fronting all these ensembles and we are playing original material.

Selecting future venues and creating “musical events” v gigs

After a number of years playing the local circuit, I now far prefer to organize much bigger live opportunities, through the Music for the Head and Heart and Green Eyed Records platforms. This means starting to host more established artists and providing evenings of entertainment, rather than simply doing gigs. This doesn’t preclude doing future gigs, but now I’m adopting a policy of “less is more” and being more selective about where and when we play. This means a great deal of planning as great venues are in short supply and established artists will plan ahead for live appearances. Also this means a lot more personal investment in signing contracts with artist’s managers who understandably want the assurance that events of properly marketed.

Previously I ran two Music for the Head and Heart events pre covid and am now planning a series of much bigger musical evenings starting with a showcase event October 7th with Jon Gomm.

Creativity through collaboration

In keeping with the Green Eyed Records “creativity through collaboration” I am delighted to be offering Towse from California as well as my own Heartache ensemble. In April I already have signed another major international to play in Leeds as part of the forth Music for The Head and Heart showcases, with one of my ensembles supplying support.

We’ll be looking at “The Old Woollen” in Leeds again, as it is covid friendly, has free parking, full bar, fully seated and crucially a superb sound system. Crucially we have a great sound engineer for these events and none of the constraints in terms of curfew and audience limits which in my opinion hamper playing at some other venues in Leeds.