Joe Sample

Texan born keyboardist Joe Sample, best known as a member of the pioneering Jazz-Funk ensemble The Crusaders, died last Friday aged 75.

Sample had formed the group, originally named The Jazz Crusaders, in the late 60’s with drummer Stix Hooper, saxophonist Wilton Felder and trombonist Wayne Henderson, each of whom, like Sample, would find success both as Crusaders and in their own right. The Crusaders would be hugely influential during the 70’s and have a major crossover hit with 1979’s ‘Street Life’, co-written by Sample (with fellow Texan Will Jennings), and introducing singer Randy Crawford. He’d team up with Jennings again, writing Crawford’s biggest solo hit, ‘One Day I’ll Fly Away’ the following year.

‘Street Life’ was such a huge club tune in Britain, initially breaking out of the specialist Jazz-Funk scene before finding favour with the more mainstream club and radio DJ’s. Whilst it managed to scrape into the US top 40, it would go as high as #5 in the UK.

Sample himself would score big with the Jazz-Funk crowd here via the wonderfully titled ‘There Are Many Steps Along The Way’, a track that never bothered the chart, but was a cult-classic on dancefloors both North and South, having been picked up as an album track from 1978’s ‘Rainbow Seeker’.

Joe Sample Wikipedia:


2020 20 Years

Greg Wilson's 2020Vision

Been meaning to flag up the 20th anniversary of 2020Vision Recordings this year. It’s quite an achievement to run a record label for any length of time in the modern climate, let alone 2 full decades, so big congratulations due to 2020 founder, DJ Ralph Lawson, whose association with Leeds clubbing institution, Back To Basics, goes back even further still, to 1991 when the night first started and he played the first tune. I blogged about the B2B anniversary a couple of years ago:

I first met Ralph just prior to my DJ return in 2003, and he was there on the night I made my comeback at the Music Is Better event at The Attic in Manchester. It was fellow B2B resident, Tristan Da Cunha, who’d made the initial contact with me, having heard an old early 80’s mix of mine at an after party following the Southport Weekender. He’d set about tracking me down as a consequence; eventually locating me in Liverpool and paying a visit with Ralph to discuss an idea they had in mind.

Ralph Lawson

Tristan (doing really well with Dungeon Meat these days) was working for 2020 at the time, and the approach he and Ralph made regarded the possibility of me compiling a series of albums documenting the music I was playing in the early 80’s. The project was subsequently abandoned when licensing costs became prohibitive, but 5 years down the line, in 2008, they asked me if I’d be up for putting together a mix of my favorite 2020 tracks from the back catalogue – the result being ‘Greg Wilson’s 2020 Vision’.

Tristan Da Cunha

It was Ralph and Tristan who were responsible for my first booking at Back To Basics, in 2004. This was a big deal at the time, and given the kudos of the night, helped bring my name to wider attention in that early period when I was still very much finding my feet. This was certainly a step up the ladder for me.

In the intervening years we’ve maintained a strong association and I’ve DJ’d at 2020 events on a regular basis – the most recent in London and Leeds earlier this year.

The label continues to make its mark, with current acts including my old mates Crazy P, who’ve enjoyed a fresh surge in their popularity during recent years. 2020 have also just released a track called ‘CTRL+ALT+DEL’ by another friend of mine, Walter Ego (featuring Obenewe): https://soundcloud.com/2020visionrecordings/walter-ego-ctrlaltdel

Walter Ego

Walter, who’s from Sheffield, has been doing some work for my own label, Super Weird Substance, providing a sublime but, as yet, unreleased version of ‘Summer Came My Way’ - a track that showcases the extraordinary talents of Merseyside vocalists The Reynolds. It’s been a huge festival anthem for me during recent months, courtesy of the Luxxury mix. This has led to plans for Walter to produce further tracks with The Reynolds as they move into the next phase of their emerging career (they also provided a whole layer of colour to the ‘Blind Arcade Meets Super Weird Substance In The Morphogenetic Field’ mixtape via their magnificent b vox).

With his finger still on the pulse, Ralph has moulded 2020 into one of the most enduring British dance labels, and is a true example of commitment to the cause. I’d like to wish him continued success in the years to come and thank him for his belief in me at a time when I was just a vague and distant name from the past.

2020Vision Logo

2020Vision Website:


Super Weird Happenings


On 20th September, the first in a series of 5 Super Weird Happenings takes place in Manchester at Gorilla on Whitworth Street, promoted via my multi-media outlet Super Weird Substance in conjunction with El Diablo’s Social Club who’ve been running their influential club nights in the city for many a moon.

The event kicks off at 8pm, continuing for the next 8 hours and taking in music, debate, art and more, including an ‘in conversation’ section during the first 2 hours hosted by local TV and radio presenter Terry Christian, who’ll be setting the questions for poet and author Lemn Sissay, cult Manc icon and former member of Black Grape and the Ruthless Rap Assassins, Kermit Leveridge, along with myself.

One of the great, but often unsung Manchester DJ’s, Tomlin (Jam MC’s / Konspiracy) is also aboard, playing the tunes ahead of a much-anticipated live performance from Kermit’s new band, Blind Arcade. Various local artists including Sarah Lynn Mayhew, Jay Smith, Lauren Carter-Bridges and Elspeth Moore will capture the evening through their respective medium, whilst I’ll play the night out, taking my cue from the uplifting vibes of Blind Arcade and what unfolds in the building prior to their appearance.

These are our first steps on a road that we hope will lead to increasingly ambitious one-offs; eventually curating our own arena at a few festivals. The title we chose harks back to the 60’s when spontaneous arts-based events were described as ‘Happenings’ – this seemed a good fit given the free-flowing creative spirit we hope to conjure via some of the aspects of these gatherings.

For Kermit, the event is something of a homecoming – a return of the prodigal, given the well-documented descent into heroin addiction that nearly claimed his life back in the Black Grape days (his partner in the band, ex-Happy Monday Shaun Ryder, also a notorious user). This forced him to move away from the city in order to straighten himself out.

Kermit, as I’ve stated here previously, contracted septicemia as a result of injecting himself with a dirty needle, leading to his complete separation from the music world for a number of years as he gradually weaned himself off his drug dependence and prepared for a heart operation to repair damage caused by the infection, which was, thankfully, a complete success. Now, as a recent father, his life has totally turned around, and although he has the drive and energy of a man many years his junior, he also has a newfound contentment, complimented by a more measured approach to his work that belies the chaos of earlier times. Befitting of a man whose been given a 2nd chance, he’s ready and raring to go. There’s a brilliant new interview with him just gone up onto Skiddle:

The ‘Blind Arcade Meets Super Weird Super Weird Substance In The Morphogenetic Field’, mixtape is available to stream / download via SoundCloud, where it’s amassed over 30,000 plays to date:


On stage with Kermit will be his Blind Arcade partner, EVM128, ‘Give It Away’ singer BB.JAMES, and The Reynolds who, apart from their essential contribution to the mixtape have also appeared on 2 of my own tracks, ‘World Needs Love’ and ‘Summer Came My Way’. Kermit has also recruited a vital new addition to the fold, keyboardist and deep fried vocalist, Cleve ‘The Reverend Chunky’ Freckleton, who he met when Blind Arcade appeared at Latitude Festival in July.

The Happenings in Glasgow (Sept 26th) and Bristol (Oct 3rd) will follow a similar format, with guests to be announced imminently on the Facebook Events pages linked below.

For Glasgow, we’re working in conjunction with Melting Pot, with whom I've now enjoyed a deeply valued 10 year relationship, going back to 2004 when they first booked me to play at their original venue, the Riverside Céilidh Hall. In Bristol we’ve hooked up with The Island Art Space, located in an old police station, cells and all. Ryan Keady, Dave McGinn and Dave Harvey have provided invaluable help on the ground, and this is certainly the quirkiest of the venues we’ve chosen.

Two further Happenings, in Liverpool and London, will be announced soon, to complete the tour. One things for sure – no two will be alike.

Manchester Super Weird Happening Facebook Events Page:

Glasgow Super Weird Happening Facebook Events Page:

Bristol Super Weird Happening Facebook Events Page:

Happening Wikipedia:


Random Influences On Mixcloud

Randon Influences On Mixcloud

The complete Random Influences is now available to stream via Mixcloud. This is a series of 2 x 12 hour long podcasts I put together in 2010 to mark my 50th birthday, comprising of a full 24 hours worth of music, all 7” singles from my formative years, with only records released before I started out as a DJ in December 1975 featured. As the title suggests this is a random, rather than definitive selection.

The Mixcloud playlist is linked below, with the individual episodes embedded:

Random Influences

Previous related blog post – Random Influences Phase 2:


Oh Happy Day

It’s been a particularly hectic period for me – within the last 3 weeks I’ve been in Ibiza, and then Glastonbury, before heading over to Croatia for the Garden Festival, with a couple of further festival appearances in Holland (Down The Rabbit Hole) and Leicestershire (Noisily) slotted in for good measure. On the back of this came a special event right on my doorstep in Liverpool, at St Lukes, a once Anglican parish church originally built in the early 19th century, which, during the intensive German bombing raids on Liverpool in 1941 was hit by an incendiary device and reduced to a ruin. The burnt out shell, without a roof, has become a city center landmark, affectionately known as ‘the Bombed Out Church’, and during more recent times has been utilised as a venue for a series of arts-based events. It’s a proud symbol of the city’s defiance, but it’s currently under threat of being taken over by developers, and potentially ending up as some fancy boutique hotel, or prime location accommodation. In a world where style so often triumphs over substance, let’s hope the Crowdfunder recently launched to help enable this iconic building to remain a community / arts space, raises the necessary financial support. Find out more here: http://www.crowdfunder.co.uk/Bombed-Out-Church

Liverpool club promoters, Freeze, hired the space last year for their initial event there, proceedings beginning in the afternoon with an after party taking things on deep into the night. It was a big success, and when they approached me with the idea of staging a trio of gigs in interesting locations, to be presented under the banner ‘Greg Wilson Summer Sessions’, the Bombed Out Church was the jewel in the crown.

I’d originally been booked by Freeze for Camp and Furnace in 2013. It was an odd one because I was on really early, from 9pm–11pm on a normal Saturday night – I’d wondered if there was going to be anyone in there whilst I played, but was assured it would be fine, which it turned out to be. In fact, it was more than fine – it was a great crowd, all vibed up nice and early, and eager to get their groove on.

The Summer Sessions kicked off with a top night at Williamson Tunnels in May, and we were hoping to get The Kazimir for the 3rd installment, but it’s been difficult to find a date. Instead we’re now looking to gear towards our Liverpool Super Weird Happening, planned for October – we’ll announce via social media as soon as we have confirmation.

With it being an open-air arena, there were the obvious concerns about the good old British weather – it’s always a risk with this type of thing, so it was fingers crossed for some sunshine. All was looking good until the day before when the forecast said there’d be some showers coming in from the west during the latter part of the afternoon, which was exactly what time I was due to play – the event kicking off at 2pm, whilst I was rounding things off between 6 and 8pm. Derek Kaye was also playing, along with Jim Baron of Crazy P, so there was a real disco flavour to the day.

The weather was great when I arrived – there was a bit of cloud obscuring the sun’s rays, but otherwise it was fine summers day. I’d been playing the festival in Leicestershire the previous night, so had driven back having stayed in a hotel overnight. I unfortunately missed Derek – that’s him in the photo above, which gives the DJ perspective on these incredible surroundings. Jim followed, and the good vibes flowed and the weather held – that was until about 5.30 when the skies well and truly opened. Freeze were prepared though, having bought 300 plastic rainproofs to distribute amongst the audience, almost all of whom had gallantly braved the downpour, embracing it wholeheartedly rather than letting it spoil their day.

There were a few people who were a little concerned at first, thinking it might cause some to leave, or at least look to shelter, but I knew that, rather than being something negative, this actually added to the occasion. It reminded me of an amazing day at Bestival, during my time as an ‘Invisible Player’, when the Rizla arena, set up with a raised amphitheatre type structure, with people dancing at different levels, experienced one of its most memorable days with people refusing to give up the dance as the rain soaked them (once again rainproofs were available to those who wanted them). The whole spectacle was something else, many of the people in fancy dress – it was wet plastic and umbrellas aplenty, and a whole heap of smiling bobbing humanity.

This was similar, but also held a spiritual undertone given the surroundings – there was a definite feeling of peace, harmony and love throughout the day; everyone I’ve spoken to since would testify to that. This was Liverpool at its best, and I don’t think it’s over-egging the pudding to say that this event will go down in local clubbing folklore. It was already the hottest ticket in town, having sold out last month – the promoters said they could have sold it out 3 times over. Sometimes this can put too much pressure of expectation on an event, but not on this Saturday afternoon / evening – everything worked out beyond our already sky high expectations. It was a communal experience, and the environment added a poignancy that, if not thought about, was almost certainly felt by the majority of those in attendance.

Just before I went on the rain stopped and things brightened up again (at least for a while). I couldn’t resist the opportunity to open with ‘I Can See Clearly Now’ by Johnny Nash, which added to that sense of shared experience. It wasn’t just the literal meaning of the song, but its metaphorical meaning. Liverpool is on the rise again, and there’s a fresh confidence in the city, and, better still, a fresh heart. I really believe that special things will happen here in the coming years – its cycle is now due. ‘It’s going to be a bright, bright sun-shiny day’.

However, it was my closing track that gives this post its title, my ‘one more tune’ following the finale of ‘Get Back’ by hometown band The Beatles (Bonar Bradberry’s edit).

YouTube Preview Image https://www.youtube.com/watch?v=4-65a-8C7k8

‘Oh Happy Day’ was one of those powerfully beautiful records of my youth (mashing up its religious reference via its release on the Buddah label), a massive hit on both sides of the Atlantic as the 60’s came to a close, reaching #2 in the UK and #4 in the US. Although it was a Gospel recording (which would win a Grammy in that category), not something you’d find in the UK chart back then (or on the US pop listings for that matter), this was during an era when Liverpudlian George Harrison would top the chart with ‘My Sweet Lord’ whilst producing The Radha Khrishna Temple, who would perform on Top Of The Pops, having scored a remarkable hit with their rendition of the ‘Hare Krishna Mantra’ – even the final single by The Beatles, ‘Let It Be’, had sounded like a hymn (as did Simon & Garfunkel’s epic ‘Bridge Over Troubled Water’). It was a spiritual epoch drawing to a close and these recordings, at least to my young ears, were like prayers for the changing times. They were the new hip prayers, not the boring type you were taught to repeat, parrot fashion, at school assembly. They had power and meaning.

Given it had been recorded at a church (in Berkeley, California), the symbolic act of playing ‘Oh Happy Day’ in the Bombed Out Church held huge significance to me. I hadn’t set in stone that I was going to do it, but had decided if it felt right in the moment I’d close proceedings with it – and it certainly did feel right, as right as the rain that, as the words say ‘washed our sins away’.

As it came on I was aware that a fair percentage of those there may not be aware of the track, being 45 years since its release, and were perhaps waiting for some kind of beat to latch on to, so it was fascinating to observe how, as great music can do, it gradually moved the crowd, evoking a joyousness that was infectious – it’s like you can see the holy spirit entering people, myself included.

There’s only so much you can say by way of explanation, words are never enough when you’re trying to describe a feeling, but it’s there in the footage, thankfully captured by Tim Collins – a precious 5 or so minutes we all shared on a deeper level. So, love, love, love to all in attendance - that'll live in the memory for a long long time to come. Spiritual is the only word for it.

Oh Happy Day Wikipedia: http://en.wikipedia.org/wiki/Oh_Happy_Day


Glastonbury Trilogy 2014

Glastonbury has become so important to me during the past 2 summers. My first appearances there weren’t until 2011, at which point my key festivals were undoubtedly Bestival and the Big Chill. However, with the demise of the latter, which left Bestival temporarily unchallenged, it’s going to be strange this year not to be over on the Isle Of Wight, having played the previous 8 Bestivals. I hope this is only a gap year, as one of the phrases I’ve heard most from people who I’ve chatted to at gigs down the years is ‘I first heard you play at Bestival’ – it’s undoubtedly been my greatest recruiting ground, and the scene of some incredible memories for me, especially the Rizla Invisible Players years, and more recently in the Bollywood tent.

Although my debut year at Glastonbury was the perfect introduction, I didn’t get chance to take in the wider festival vibe, driving onto an extremely muddy site and playing on the Wow! stage, before being transported around the perimeter to Block 9 and NYC Downlow. Then it was back around the perimeter to where my car was and, with a push to help me on my way, straight off site and homeward bound. It was more a case mission accomplished and get out while the going’s good. There’s a short blog post about it, including mixes, here:

Last year was when I was really touched by the Glastonbury magic, spending a couple of nights onsite, and finding myself truly bowled over by the crowds who turned out to see me play, and the incredible atmosphere they generated, both in the Stonebridge tent and, as night turned into day, at Genosys, the Block 9 outdoor arena. It moved me to get my feelings down in a blog post, ‘Glastonbury – The Greatest Show On Earth’:

This year I found myself taking 3 gigs, all on the Friday, the first back at Stonebridge, but this time starting at 2pm in the afternoon, then it was onto the Beat Hotel for a 6pm start, and finally, once again 4 hours on, at 10pm, for my Genosys finale. There was a certain order to my itinerary amidst the essential chaos of the Glastonbury experience. No sooner had I finished one gig and broken my equipment down, then it was on to the next to set up again – the day passing by very quickly in the process. As they say, time flies when you’re having fun.

I’d like to thank everyone who turned out to hear me play – it was really special for me to receive so much support, each of the appearances a joyous gathering of party people giving it up to the groove. Recordings from all 3 are now available to stream / download on SoundCloud:


Glastonbury has emerged as an integral part of my summer schedule, something that I hope to build upon during the coming years. It’s the festival of festivals - the only one I can think of with anything close to the aura that surrounds it is Burning Man in the Black Rock Desert of Nevada, which is perhaps the most significant omission in my list of clubs / events I’ve yet to play – hopefully this will be rectified in the next couple of years.

A special mention to Kermit, Debi, Scott, Jacky, Windy, Sharon and Dave – great to share the experience with you. Looking forward to doing it all again in 2015, and hopefully spending more time on site (I had to get away early this year as I had another festival over in Holland to get to).

Glastonbury Festival Wikipedia:


Bobby Womack

Bobby Womack

Another Soul legend left this mortal coil last Friday, aged 70.

Bobby Womack, who hailed from Cleveland, Ohio, started out in a 50’s Gospel group, The Womack Brothers, along with his 4 siblings, before they began producing music of a secular nature, as The Valentinos. Their most famous track, co-written by Womack, was ‘It’s All Over Now’. The Rolling Stones cover of the song, released quickly after the original, in June 1964, gave them their first UK #1.

He really hit his stride in the early 70’s as a solo artist, releasing some of his best known material - tracks including ‘That’s The Way I Feel About Cha’, ‘Woman’s Gotta Have It’, ‘Harry Hippie’ and ‘Across 110th Street’, the latter which, having originally appeared in the 1972 ‘blaxploitation’ movie of the same name, would gain a new lease of life via the 1997 Quentin Tarantino film ‘Jackie Brown’, where it was a key component of the soundtrack.

His greatest solo success was his 1981 album ‘The Poet’, which topped the US R&B chart. His final album, ‘The Bravest Man In The Universe’ was released by UK label XL in in 2012.

Bobby Womack Wikipedia:


I Wanted To Get High – I Didn’t Want To Die

Martha Fernback

I saw a story online yesterday that, given I have a teenage son myself, really struck a chord. Anne-Marie Cockburn, the mother of Oxford schoolgirl Martha Fernback, who died last summer, aged 15, having taken half a gram of MDMA powder, issued a statement following the inquest this week claiming that the criminalisation of drugs was a contributory factor in her daughter's death, and that the drug education she received in school, rather than helping her make informed decisions, only added to her vulnerability.

Part of the statement called for “a sensible dialogue for change, from prohibition to strict and responsible regulation of recreational drugs”, and suggested that “this will help safeguard our children and lead to a safer society for us all by putting doctors and pharmacists, not dealers, in control of drugs”. The reasoning behind this was that the MDMA Martha had taken was 91% pure, whereas the average purity is 58% - tragically, given its illegality, nobody knew this until after the fact. It’s a similar scenario to heroin addicts, used to low-grade street gear, who all of a sudden get access to a purer batch, miscalculate its potency, and end up overdosing.

Despite all the forlorn political efforts to promote abstinence, young people are still taking drugs in vast numbers, so if that’s the reality, you have to ask what kind of society is it that understands the dangers posed by street drugs, yet refuses to even debate options, other than abstaining, which would clearly help save lives. I know that drugs are an emotive issue, the politicians reluctant to challenge the status quo because anything but an anti-drug stance has traditionally been a vote loser, but to bury your head in the sand and refuse to address this issue from a more humane standpoint, starting from the premise that a great many young people aren’t going to stop taking drugs any time soon, seems increasingly reckless. It’s reasonable to argue that by allowing things to continue as they have been, these politicians are more or less turning their backs on the likes of Martha Fernback, letting them take their chances, when, by regulating drugs, safeguarding the purity, you could greatly negate this risk.

It’s the mark of a special person to suffer such a devastating loss, yet, rather than decrying the drugs that took her daughter's precious life, understand that this is an aspect of the world in which we live that won’t go away, and if we want to do right by our children, we must protect them first and foremost, and not just by saying ‘no you’re not going to do that’, but ‘if that’s what you are going to do, I want you to be able to do it as safely as possible’.

On the home page of the website, What Martha Did Next, a photo of the teenager, looking directly at us, is overlaid with the words:

“I lived for 5,742 days, 7 hours and 36 minutes. I died on 20th July 2013 at 2.17pm after swallowing half a gram of MDMA powder (more widely known as ecstasy). Making it illegal didn’t protect me. I wanted to get high – I didn’t want to die”.

What Martha Did Next Website:


Blind Arcade Meets Super Weird Substance In The Morphogenetic Field

Blind Arcade Cassette Inlay Low Res

During the last few months I’ve been particularly swamped, working hard on a project that I can happily say has now reached fruition as ‘Blind Arcade Meets Super Weird Substance In The Morphogenetic Field’ - a mixtape featuring 19 tracks, mainly recordings by Blind Arcade. It’s just been made public on SoundCloud, having been shared privately with friends and supporters over the weekend, and we’ve been so happy to see how quickly it’s being embraced in these past 24 hours. It's available here as a free download:


Thanks to all who contributed to the various stages of recording – Blind Arcade’s Kermit Leveridge & EVM128, of course, studio engineer Derek Kaye, singers BB. James, Amy Wilson, Katherine Reynolds, Carmel Reynolds and Tracey Carmen, trumpeter Kevin G. Davey, saxophonist Marc Rockwood, special guest vocalists Howard Marks and MC Tunes, plus Martin Foster, Ollie Miles, Ché Wilson, Sam Heller, Alexis Billington and Asha Billington, who also leant a hand along the way. It’s wonderful what spells we can muster when our magic is combined.

It’s nothing less than remarkable that, given the depths he’d plunged to as a heroin addict, so nearly losing his life in the process, Kermit has not only made an inspired return, but managed to summon such a positive statement from his once troubled soul, spreading the love and sharing the vibes in a way that is so relevant to now - it feels like the stars are aligned and we’re dropping this mixtape at exactly the right moment.

I’ll post about the project in greater depth and detail a little later down the line. In the meantime, here’s the accompanying text:

Blind Arcade Meets Super Weird Substance In The Morphogenetic Field text (1)

Uplifting, life-affirming, and perfectly timed for the summer months - cobbled together, Heath Robinson stylee, more by serendipity than design, into a coherent whole by DJ / Producer Greg Wilson. Most of the tracks featured are by Blind Arcade, either existing demos or works in progress, but the mixtape is also peppered with half-a-dozen GW edits, lyrically laced to bubble the Super Weird stew – the constant presence, and main ingredient, being Kermit Leveridge, for it's his inspirational tale of faith and redemption that lies at the very core of this morphogenetic mixtape. Following on from the Ruthless Rap Assassins and Black Grape, we believe that this is his greatest musical odyssey, drawing from the deep wells of his own mythos and logos. There were 3 frontmen in the Rap Assassins, 2 in Black Grape, but now, for the first time, Kermit steps to the fore – no longer to be described by such a limited term as 'rapper', but as a sabre-skilled vocal chameleon, his shades and depths ranging from wise old soul to lovestruck adolescent, invoking his many I's as a cast of compelling characters, both comic book and close–up personal, whilst, in trickster tradition, keeping us on our toes, not knowing what to expect next.

Let me take you by the hand
So you know what's going on
Let me take you step by step
On a journey that won't take too long
Come let me show you
Reality is not what it seems
It's all a construct
And what you see might not be real

Kermit Leveridge – The Construct

Cometh Soon Here Now

Further info:

Artwork adapted by Dominic Mandrell:

Mixtape Wikpedia:


Summer Schedule 2014

The summer / festival season kicks in for me this weekend with gigs in Preston, Bath, Bristol and London. It’s going to be a full-on summer, with festival appearances a-plenty, plus European dates in Ibiza, Croatia, Holland and Portugal. Hope to see you in a club, a warehouse, in a tent, or on a boat, even down a rabbit hole or some tunnels (Liverpool a week Saturday), not to mention a bombed out church (Liverpool again, this time in July).

For regular updates and info, check my Facebook page: