Highlight on… Music venues

The north east music scene is thriving, with new acts, music venues, and industry professionals rising to the surface and improving as they grow and collaborating with others within the local scene. Find most of its fantastic grassroots music venues below.

Durham

Claypath Delicatessen
Fabio’s Bar
The Angel

Gateshead

Microbus
Station East
The Central Bar
The Glasshouse ICM

Hartlepool

The Clippy
The Studio

Middlesbrough

Café Etch
Middlesbrough Town Hall
Off The Ground
PLAY BREW
The Bottled Note
The Townhouse

Newcastle

Alphabetti Theatre
Cobalt Studios CIC
Head of Steam
Mosaic Tap
Summerhill Bowling Club
Tapyard Studios
The Cluny
The Cumberland Arms
The Globe
The Grove
The John Marley Centre
The Lost Wanderer
The Little Buildings
Two By Two Brewing Taproom
Zerox’ Shooting Gallery

North Shields

Salt Market Social
The Engine Room
Three Tanner’s Bank

Stockton

ARC
KU Stockton
NE Volume Music Bar
The Georgian Theatre
The Green Room
The LINK
The Social Room

Sunderland

Independent
Otto Sunderland
Pop Recs Ltd.
The Bunker CIC
The Fire Station
The Peacock
The Ship Isis

Tynemouth

Alfie & Fin’s
Barca El Globo
King Street Social Club

You might also be interested in our list of north east-based independent promoters!

LLIVELY Tour Diary: Subterranean Street Society

For the purpose of my own curiosity I decided to dive into the archives and find out when Dutch-Danish rock band Subterranean Street Society and I started working together, and found out it was late February 2022 on their single ‘One And A Half Men Tent’. Two years and a few months later we finally met in person for the first time, ever. Somewhere over the course of our working relationship we’d started to talk about a UK tour, which just after Brexit seemed impossible. However, together, we made the impossible possible!

On Wednesday the 8th of May they arrived in the north east for two shows, after which they’d head to Manchester, Sheffield, London, and then Brighton for their last UK show of the tour. They started with a mesmerising completely unplugged set at Sofar Sounds Newcastle and headed to Mosaic Tap the next day for an amplified set supporting local outfit Earth Farm! Those two sets were at the same time a world of difference and exactly the same; captivating and more powerful then I’ve ever seen a band perform. It is their thunderous soundscapes and bloody honest, political lyricism that has made me stick by the band for the past few years.

By Celia Medina at Mosaic Tap, Newcastle

The band headed to Manchester for a show at Lions Den supporting Origami Tsunami and toured on to Sheffield for an instore at Record Junkee. One of our least favourite shows not solely due to the administrative nightmare it was in the lead up to the event… A show had been booked in with Kevin at Our Sound Music, who’d joined the team at Record Junkee as in-house promoter. The initial idea was always to make this a free instore and for the band to get the opportunity to sell their physical albums. We’d received a request from Kevin to make this a four band line-up, ticketed evening event instead and had of course said that that would work perfectly for us. Up until now that has been the last we’ve heard of Kevin… Eventually we were able to get hold of Record Junkee and they confirmed to make this once again a free in-store, but when the band arrived the shop was empty and management had locked themselves in their office. So much for a show in Sheffield…

Luckily things were only able to get better from there, with two Sofar Sounds London shows on the books, a fantastic line-up at The Dublin Castle in Camden, and a ‘hometown’ headline at The Folklore Rooms in Brighton! Ahead of the band’s before-last show in London we all enjoyed a wonderful meal together at Italian restaurant Goodfare which I would wholeheartedly recommend to anyone looking for a delicious Italian meal. We enjoyed The Dublin Castle with incredible bands Wakey Wakey Rise & Shine, Butterjunk, and Morning Tourist, and I fell head over heels in love with The Folklore Rooms and its aesthetically-pleasing venue and stage design. Local artists Soft Top and Arjun Nala supported the band which made for a night of incredible live music we won’t soon forget.

Booking live events, organising an international tour, and filling venues with familiar and yet unfamiliar faces is a full-time job. One born from passion when done by those with the right intentions, but costing so much time and energy. Even though I am already working on the next tour, it is still a thing I need to reflect on every time a tour ends; is this really worth it? Is it the best way to go for the artist I am working with? Even though an international adventure sounds like a dream, just booking the events isn’t achieving much just yet. Deciding if an international tour is right for you, is something only you can decide, and although advice from others can be helpful, it can also be damaging. You’ll have to keep in mind all individual tasks before you even get to play your show; your route, the cities you might be able to bring people in, the venues and or promoters you’re hoping to work with, the people you hope to attend your shows, the industry you’re looking to invite, the costs for travel, accommodation, and to feed yourself.

The first time myself and Subterranean Street Society spoke about a UK tour was around June last year, it took us nearly an entire year to organise, and even though I wouldn’t have it any other way and there are only so many things I would have done slightly differently, that’s something to keep in mind when looking to book your own tour. To reiterate; with a band as talented and with their hearts in the right place as Subterranean Street Society, I would book tours all year ’round if I could!

Behind the music: grapevine. on ‘Like An Oasis’

grapevine. is leaving listeners with a longing anticipation for more. Alas the yacht pop era continues as grapevine. isn’t hiding his tropical influences, in fact ‘Like An Oasis’ parades those influences and wears them proudly. Released just in time for the summer, ‘Like An Oasis’ is the summer anthem you’ve all been waiting for.

While as luxurious sounding as the song may seem, the track can actually be seen as a desperate plea for when you’re so lost in love with someone who just seems too good to be true that it’s like finding your way through a desolate oasis (as intense as all the great classic power ballads out there). With this track, grapevine. wanted to take his love for the 80’s and the throwback pop sound that he adores most by upping the anti to pull off a track compatible to the classic 80’s anthems by Hall and Oates, Journey and The Outfield.

Not only does the track include more synths, there’s even a saxophone solo kicking off at the last third! Listeners will get a good dose of nostalgia from this new grapevine. era, solidifying his mark on the north east music scene as things definitely aren’t slowing down just yet.

Behind the music: Subterranean Street Society on ‘BLEEP’

While the band’s previous albums were created during an extensive process, ‘BLEEP’ was written and recorded in one year. This time the songs were written with the entire band to focus on the energy of the ensemble. The result is an up-tempo folk-grunge album, the album release tour starts in March in the Netherlands, followed by a UK tour in May.

Single ‘BLEEP’ is the title track of the album and also the last song the band wrote. It was created in the studio and was recorded live on an 8-track tape recorder. The song is musically and lyrically tough, uncompromising and thus pushes the boundaries of comfort. ‘BLEEP’ mainly asks the question: “Who determines where the boundaries of freedom of expression lie?

Singer Louis talks about ‘BLEEP’: “The title track from Subterranean Street Society’s upcoming album ‘BLEEP’ is a song about modern-day censorship in a digital age, where the big tech canons have taken total control of our public discourse. It retells a story about “Rocking In The Free World” by Neil Young, who removed his music from Spotify because he disagreed with Spotify podcaster Joe Rogan’s views on the COVID-19 vaccines. In this tragic-comic story, we are left to wonder where the line of free speech is drawn, who the gatekeepers of truth truly are, and if self-censorship will become the new cancel culture.”

Introducing the Industry: hmv Newcastle

Breaching the barriers of the wider music industry, I decided to initiate conversations with local change makers, get to know hmv Newcastle supervisor Ritch, and read the entire interview on Music For The Misfits.

What is your role at hmv Newcastle, and what do you do besides working at hmv? “I’m a supervisor at hmv and also plan, organise and promote all the in-store events especially the Live & Local activities. Besides hmv, I can usually be found at a gig or two every week, the cinema or the best role of all, being a dad to my daughter.”

When did you start working in the role you’re in now and what inspires you to keep going? “I’ve worked for hmv since July 1999 and played a part in the events for a long time. When #hmvLiveAndLocal began in 2019 I jumped at the chance to run things.”

“A great source of inspiration has been working with the local artists. When hmv launched its own record label (1921 Records) one of my own nominations was chosen, India Arkin. Since then I’ve been even more eager to continuing helping artists where I can.”

What do you think of as the strengths of your local music scene? “We have such a wonderful community that takes care of each other. GIGCO is essential for the scene and is growing all the time. Ben and Matt have such passion and it’s great getting to work with them. Promoters such as Shin Gigs along with us having so many venues around for people to perform. You really could go to a gig every night of the week. I’ve made some amazing friends through the music scene too!”

Highlight on… Local festivals

The north east is positively vibrating from the musical endeavours taking place on nearly all of its corners, with this blog post being dedicated to its local musical all-dayers.

Darlington

Last Train Home

Durham

Little Lindi
Northern Kin

Lindisfarne

Lindisfarne Festival

Middlesbrough

Twisterella

Newcastle

Aelius Alternative
Marrapalooza
Northern Electric Festival
Northern Pride
NOVUM Newcastle

North Shields

A Stone’s Throw
Coast Fest

Stockton

Stockton Calling
The Gathering Sounds

Sunderland

Kubix Festival
Monument Festival

Introducing the Industry: Indie In Town UK

Interested in performing live as a grassroots musician and in the process of reaching out to local promoters? Don’t skip Indie In Town UK, these London-based promoters offer a healthy dose of indie gigs and make sure all performing artists are well cared for! Read the entire interview on Music For The Misfits.

Hi! Could you introduce yourself and what you do, what does a day in your life look like? Jelle: “My name is Jelle, and I’m a music manager and concert promoter. Together with Marieke I organise an indie night called Indie in Town in London. We also host events in Amsterdam and are starting to branch out to Berlin. A day in my life is usually a lot of emailing and calling people. During the day I work at the office of the management company, and in the evenings I have time to discover new bands, advance shows, or spar with Marieke.”

Marieke: “My name is Marieke and I do several freelance things. I mainly work with independent labels and distributors, but I’m also a photographer, content creator and work at live shows. Together with Jelle I organise Indie in Town events in London. A day in the life looks like: do a bit of work, get a coffee, go for a walk or run errands, do some more work, eat food, go to a gig, do my Duolingo.”

Could you introduce Indie In Town and what the organisation does? Jelle: “I started Indie in Town with my twin brother Thom about 8 years ago. We promoted by-monthly gigs in Amsterdam where we booked three new indie bands, a DJ and an art expo. Now that I moved to London we promote gigs in Amsterdam and London. This way we can get British bands a platform in the Netherlands and Dutch bands a platform in London.”

Marieke: “What Jelle said! Here in London, we’ve had some line-ups with all UK bands, but we were very passionate about getting more Dutch bands to come and play at our events. So collaborating with Dutch Music Export was a great way to make that happen.”

What and or who inspires you to do what you do as Indie In Town? Jelle: “It’s always really exciting to meet new artists and get to know them better. We always meet up with the bands in the weeks before the show to shoot a promo video, and that really helps forming a connection with the bands. We’re there on the night and I cook for everyone. It’s a lot of fun to discover new bands and make new friends.”

Marieke: “I definitely think we’re good at adding some Dutch hospitality to our shows, making sure there’s some food and drink for the bands to enjoy, meeting them before the show so we can get better acquainted. We actively promote the gigs on social media, and we bring mini stroopwafels to the gigs for the crowd to enjoy. So it’s small things that make Indie in Town shows a bit more special, I think. And I’m really glad we can help Dutch acts play more shows here in the UK, because Brexit has definitely made that more difficult and more expensive.”

What do you think makes Indie In Town successful and how do you make sure it stays successful? Jelle: “I think the connection with the artists makes it successful. We really want to treat artists better than they usually get treated. We hope to grow to venues that are a bit bigger (400 cap maybe, we’re at 150 now), but we don’t have to make any money doing this. It’s really a passion project.”

Marieke: “I think it has been great trying out different things with our events last year, to see what works best and what we like to improve on. I really like the small community that’s starting to take shape as well, with our friends coming to the shows, the past bands that have played at our shows, friends of friends. Some of our friends also put on their own gigs, so who knows, we might do some more collabs in the future.”

Highlight on… Independent promoters

It was about time for a highlight on north east-based independent promoters, who take the financial risk to put on live events and help promote the bands they believe in.

456 Live
Afterlight Management
Canny Queer Collective
eastside events
F54
KU Promotions
Pillar Artists
Portions 4 Foxes
Shin Gigs
The Kids Are Solid Gold
Tyne + Queer
Wandering Oak

Behind the music: Subterranean Street Society on ‘Stop Trying’

This song is an ode to the little overachiever inside all of us, about how easy it is to get stuck in the loop of “becoming” something or someone, instead of enjoying the old impossible “being” which the moment so famously advertises.

As a child of the 90’s lead singer Louis looks back: “Growing up, I remember being asked in school by grown-ups about what the plans for my future were, what did I want to become? When the obvious answer of a 12-year-old kid was a professional football player, I was told that this was not a serious answer, that I had to think about the bigger picture.”

‘Stop Trying’ is a commentary on the systems in which we place our lives. Is it worth fitting into or should we redirect our effort towards changing the framework first?

Behind the music: Benedict October on ‘Beautiful Way To Die’

Together we grieve, on Benedict October’s heart-wrenching alternative pop ballad ‘Beautiful Way To Die’.

‘Beautiful Way To Die’ is best described as the turning point on Benedict October’s new album ‘And then the ocean’. “It was written in the week my father died. The song describes the scene and mood in that week. Autumn 2020, COVID-19, a newly built house, a family and a man who wasn’t ready to die yet.”

“My father always had this dream to build his own house. When he was 68 he was finally given the opportunity to do so. He was already a little sick at that time. After undergoing heart surgery in January he was slowly recovering from it that spring. Or at least that was the plan. At the same time he was working on his dream of a new house. One where he and his loving wife could live for at least another 10 years with a garden with flowers and a big table for family dinners with grandchildren running through the garden.”

“In the year the house was built he got more and more sick. One day I was working in the studio on new music when my mom called me to tell me dad had been hospitalised. A month going back and forth between home and the hospital followed. He didn’t want to give up, and got a little cranky. Who wouldn’t? As long as he was fighting, we were fighting… But what can you do?”

“After a month in the hospital he wanted to go home. He wanted to go to the house he built and die in peace at a place where he felt safe. It took less than 24 hours before he passed away. My mom, sister and I were sitting around the bed holding his hands. It was 3.30am when he shared his last breath with us, in the living room of his own built house. At that moment I saw one of the most beautiful things I have ever seen. As if someone pulled away some grey thin overlay sheet from all the way down to his toes, all the way to over his head. It was as tragic as it was beautiful. It was a beautiful way to die.”