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Hels Pattison’s ‘Just What I Do’ Tour Blog

Hels Pattison is a musician I could never get enough of seeing, or hanging out with, and being able to book her a tour at the start of this year brought me immense amounts of joy. The venues and promoters loved her as much as I did and it’s always nice when that happens! You can read all about Hels’ adventures below, and sign up to her mailing list here!

Night 1 – The Globe, Newcastle-upon-Tyne
Where better to kick off an independent UK tour of grassroots venues than The Globe. As part of Aelius Rising, we (myself, Zac and Niles) played alongside personal favourites CRANE HOUSE and Oliver Hunt. The gig was the perfect way to start – familiar, energising, fun.

Night 2 – Strings Bar and Venue, Isle of Wight
After a short stay with Zac’s family on The South Coast, we were off to the Isle of Wight, officially making this an over-seas tour. Strings Bar and Venue kindly opened early so we could drop all our gear and go exploring. We headed out to The Needles, on the west of the island, enjoying the scenery (and wind), as well as the gift shops stuck in time. Corrine Atkins opened with swampy blues and thigh slapping honky tonk, before TriAmi blew us away with gorgeous three part harmonies, and tender slice-of-life songs. Fortunately, the car did not get locked into the Morrison’s and we even managed to blag our way onto an early ferry home – nice.

Night 3 – The Guitar Social, London
We expertly navigated around the congestion charge zone to arrive in London, where we played The Guitar Social in Shoreditch. Two years ago, to the day of the show, I played an open mic at The Guitar Social so it felt right to be returning there for a debut London show at their Folk Club. With supporting sets from Matt, Miliella, and From the Workshop.

Night 4 – Magic Dragon Brewery Tap, Wrexham
Wrexham was a whirlwind. After being completely ghosted by the venue we were supposed to play, we were taken in and well looked after by Magic Dragon Brewery Tap. We tweaked the set to suit the louder room and the pub vibe and had an absolute blast. Megan Lee played a blinder of a set, with perfectly crafted country songs, top notch guitar playing, and a slick stage presence. It became apparant that we’d struck gold with the venue change and had ended up in the Ticket Office of Wrexham. Before leaving for Stoke, we did a whistle-stop tour of some beautiful spots just outside of Wrexham – we shall definitely be returning.

Night 5 – Artisan Tap, Stoke-on-Trent
With nowhere to stay directly in Stoke-on-Trent, we had a bit of a weird day waiting for the venue to open, which was largely spend in the local Morrison’s, including catching up on admin in the cafe (Hels), and napping in the car (Zac). It was a drizzly and uninspring day, but our spirits lifted once we were in the quirky, cosy, three-roomed Artisan Tap. Beth Hill opened the show with her sublime vocals, and introspective songs about her life – can’t wait to hear some of these recorded and released. Next, the Hollie Vee Trio (playing as a duo) effortlessly waltzed through a range of country, Western swing, and bluegrass classics with professional ease. Honestly, we were happy just to have seen these two great acts and by the time we played we’d already had a great night.

Night 6 – Northern Guitars, Leeds
Feeling refreshed after a day off staying with family, we had a short trip to Leeds, and a longer trip navigating through the one way system to the venue. Zac was in his happy place because the venue was also a guitar shop and bar – heaven. Madeleine May’s soft vocals and gut wrenching song writing gave serious Phoebe Bridgers energy (which I obviously loved), and Lilian sung hauting traditional English folk packed with folklore and ghost stories, absolutely great. Northern Guitars seems to be the Leeds venue I always see other Newcastle based artists playing, so I’m super pleased to finally pop my name on that list.

Night 7 – AAA Vinyl Coffee House, Harrogate
One of the most unexpected venues of the tour was AAA Vinyl Coffee House, nestled in deepest darkest Harrogate. A cafe/bar/vinyl & apparel shop kitted out with a surround sound system fit for any audiophile. The “AAA” moniker made more sense once Dave explained he was formally a globe trotting audio engineer, and pointed out the framed collected of backstage triple A access passes on the wall. Despite the impressive array of artists on the wall (think Amy Winehouse, Corine Bailey Rae, even Goldie Lookin Chain), not a single name drop clanged to the floor – classy. It was a fun gig, playing a double set in the absence of a local support, and an even better hang after the show with Dave (venue), Marquee (photos), and Annabelle (friend) in the venue.

Night 8 – Fabio’s Bar, Durham
Our final night on the road, before finishing the rest of the shows from home, we were in Fabios’s Bar. This one is a bit tenuous to include in a headline tour as we were billed as part of a Durham Fringe Presents event, but hey, there are no rules to getting your name out there these days! We were billed as the musical act among a variety performance including improv comedy troupe Shellshock! and magician Brooklyn-Ellis Carr. Leading up to this event, we had many discussions about how to curate a set list if we were to follow a magician and/or improv comedy – do you keep the mood high? do you play songs that have funny stories behind them? do you hide an animal in the sound hole of the guitar to pull out midway through a ballad? Mercifully, we opened the show to an attentive and engaged audience who didn’t shout out prompts throughout the set. It was a great experience, and the full force of Durham Fringe were out to pull the show together. Fingers crossed, we might be back in the summer with a full Durham Fringe Show to share.

Bonus gig – Supporting The Often Herd at PILGRIM
Back in the North East, we had a gorgeous home town show opening up for The Often Herd. Neither Zac or I had seen The Often Herd live before and we were both blown away. The level of musicianship was inspiring, as the four piece effortlessly weaved through a double set of blistering bluegrass solos, sweet and sentimental songs, and generally great craic throughout. Thank you to the many people who came and chatted, brought merch, and shared kind words after the show. The joy of a matinee was that extra time to hang out after the show but still be home by nine (the 30 year old’s dream).

Night 9 – Repas7, Berwick-upon-Tweed
Next up on the North East leg of the tour was Berwick, which is further than we’d expected, but definitely worth it. Friend and collaborator, Ezra Briggs, came down from Edinburgh to open the show, playing a mixture of dark folk favourites as well as new songs from his latest EP, Industry, with Three Good Years being a standout track both in the set and on the EP. There were a lovely group of regulars down to watch the music, and also a slightly roudier group of holiday makers who’d made use of the recent coupon campaign in The Sun for the local caravan park – an interesting mix but still a great gig. Haaruun, of Newcastle Jazz Fusion outfit Sleep Suppressor had recommended this venue to us and it was a great choice.

Night 10 – The Angels Cut, Darlington
We returned to Darlington for our second time playing here, this time at The Angels Cut, a super cool bar with a cosy upstairs venue space with a warm, DIY feel. I met Steve, the owner, at The Glasshouse watching Imogen and The Knife, and by the end of the opener we’d booked a gig. Anna Karila (who you might also know as Anna Stevo) was there for support, bringing effortlessly cool, haunting vocals, and beautiful blend of originals and covers. People of Clay was our consensus favourite – “I wish I was the lightning, but I’m the gentle thud of rain.”

Night 11 – The Vault, Hexham
After what has felt like an age (almost 2 months!), we managed to sneak a full band into the tour. Hexham is a gorgeous town, and one that is new to us, so we were genuinely surprised when we found out we were one ticket off a sell out! The narrow stone arch way of the venue quickly filled up while we got ready and changed in the upstairs art gallery (don’t ask). Like our last full band show, Tommy Arch opened, and I’m not sure what else I can say about Tommy’s set that I’ve not said before, other than it’s bloody amazing. He treated us to a new track too which I can’t wait to be released.

Night 12 – The Ticket Office, Whitley Bay
Finally, we wrapped up back home at The Ticket Office, for an almost surprise show. I think almost everyone by now knows my connection with The Ticket Office, and why it’s so special to me. In the year or so that I worked there, it became the place I started doing open mics on my own, and it was the time I really started to work on writing songs under my own name, not for a group project. If you’ve been there, you know it’s small, so it was lovely to see it packed full of friendly faces – from Ticket Office regulars, to friends, to new fans of my music who we’d met from the North East leg of the tour. We played through a fairly lengthy set of 15 songs, and I also took the time to play three covers that used to be on my regular rotation while I worked there – Tin Man, Travelling Solider, and Kyoto. I wouldn’t have wanted to end the tour anywhere else, or in any other way, so thank you to everyone who came down and made it so special.

Stage Managing The Conjuring 2025 at Pealie’s Barn

I don’t often get this personal on here, but today I have to. It’s Monday afternoon and I have just come back from my first festival weekend of the summer. I feel exhilarated, emotional, loved, appreciated, and a little tired. This year was my second of joining the team at The Conjuring and there’s not enough big words to describe the feelings it brings.

The heart that is put into these three days of live music is absolutely incredible, Jack, who I met through his spoken word, brings all he’s got to these days, as well as a community he has built over the years and that community is like no other I’ve come across. This gathering of stunning souls welcomed me, a stranger, into their inner circle and made me feel like part of the family.

Together with Dave and Sally and a bunch of brilliant others I managed the stage at the festival on Friday, Saturday, and Sunday, at a venue that made the entire experience even more incredible. I hadn’t heard of Pealie’s Barn before Jack mentioned it to me, and after he did it kept popping up on my social media timelines as friends and musicians were all of a sudden gracing line-ups at the venue. I instantly fell in love with the place, the parlour, the courtyard, the stage, the barn, every nook and cranny of it, and most of all; the people running it. I live and feel fully, everything that passes the revue, it all gets my full attention, so when I meet people that feel like sunshine on my skin, they will get my full attention too. They took care of the sound, manned the bar, baked pizzas, made coffee and breakfast, cleaned, organised and made sure the place was secure.

When organising events, working with a venue is always easier than against them, and the same goes for promoters, Pealie’s Barn got that. The team did everything within their power to accommodate all of those that entered the gates throughout the weekend and helped make the event what it ended up to be; incredible. Now here comes the part we don’t often talk about, something I’ve tried to speak about at a previous job, and got ridiculed for; the post-festival transitional depression.

For three days – in this case – time ran differently, the communal focus had nothing to with the day-to-day, and I surrounded myself with like-minded sunshine souls that all had one thing in common; their love for live music and the goal to use it as an act of revolution. Once I returned to my laptop to check in on emails, PR-campaigns, upcoming tours and life admin, I crashed. The sounds and smells of the festival site had gone, no more breakfast on a barn with a coffee and a book, no more sleeping in the barn, no more exciting buzz from the crowd, fire dancers in the evening, and jokes with the security. The sounds and smells had evaporated and had left me a little empty.

Now I will be back on a festival site again tomorrow, but no festival site is the same, and they all leave me with an emotional hangover and that bit of heartache for the new friends I’ve met who I wish I would see more than once a year. It’s not easy, but a friend of mine recently shared these wise words with me; “Life is a never-ending drama, that’s what comes hand in hand with knowing so many folk and being close to them, but I wouldn’t change it for the world”, and I couldn’t agree more. Although I know that I’ll be fine, and distracted, again soon, don’t underestimate this emotional struggle, and know that it’s not just you who deals with it, I’ve been told we all do. With the enormous highs, come painful lows, but the highs make it all worth it or I would’ve stopped working in events long time ago.

Record Store Day 2025 at Beyond Vinyl

Ever since their move from Newcastle city centre to the west end, Beyond Vinyl has been evolving into what is now a new and eclectic community hub for music and vinyl enthusiasts, so it was no surprise to see an endless queue impatiently awaiting its opening this Record Store Day. Together with David I’d organised a series of in-stores to liven up Record Store Day; I’d booked a handful of grassroots musicians from within and outside of the region to play their songs acoustically.

Local folk musician Oliver Hunt, Americana duo Hels Pattison and Zach Savage, pop rock artist Sam George, and incredible rock’n’roll artist Megan Black graced the stage and brought their mesmerising sounds to an eager audience, making Record Store Day 2025 that bit more magical. This line-up had come together through various circumstances, I’d chosen Oliver Hunt as he was about to release a new single, Hels Pattison has been making waves within the local scene and has got a musical summer coming up, Sam George is about to release his debut EP, and Scottish rockstar Megan Black had just returned from a European tour.

Despite the fact that you might not yet know these artists, behind the scenes they are working very hard to make a name for themselves and to increase their on- and offline following, with myself and Beyond Vinyl aiming to support them in their endeavours. Collaborating with venues, promoters, festivals, and record stores has always been at the core of what I do within the music industry, because bringing together those that work towards the same goal makes for the most inspiring and wonderful of work environments!

Review: On Point Conference at The Georgian Theatre, Stockton

Tees Music Alliance and The Georgian Theatre collaborated on another inspiring music conference. On Point Conference took place on the last Friday of January and inspired me once again as well as connected me to those that inspire me within the northern music industry. The term ‘conference’ might sound intimidating but with a bunch of fantastic professionals and official wingman David Saunders, there’s nothing to be intimidated by.

On the panel about Dual Dynamism several northern industry professionals spoke, Supercat PR’s Matty talked about how it’s important for artists to utilise all social media platforms and to support those that support you in relation to PR specifically. “There’s no right or wrong way, focus on what excites you as a musician.” Radio DJ Shell added to that; “Have a strategy and a plan, block out periods of time for content creation and schedule posts, use the power of a mailing list, and be your authentic self on and offline.” Head of EMI North Scott Lewis highlighted an individual and different approach, “Take a different approach, support each other, and stay true to yourself.” No matter what your social media reach, just having a following most often doesn’t pay the bills, for performing artists live performances, merchandise, and syncs are where the money’s at. Scott continued, “Build a community around you and utilise your friends and family to help you with for example design, photo- and videography. Lean on the fear of missing out and make sure that those who pay for a ticket get a show they won’t soon forget. Make your gigs a social event, an event people want to be at.”

Wipe Out Publishing Marketing Manager Pippa Morgan mentioned the usage of a platform called Archive which pulls footage from social media, as well as a tool to automate direct messages sent to fans. To that, Matty added the data we can pull from streaming platforms, “to have an idea where your fans are based, and your most popular platform will give you an idea of the demographic that enjoys your music and art.” The consensus of this panel came down to how plans can give you a focus, and help you to look back on what you’ve already achieved, making sure you’re not drowning in big hopes and dreams that feel unattainable. On plans, Matty added that they shouldn’t feel like something that could not possibly move or change, but that they give you direction and help you make the most out of for example a new release. “Make sure to have more than one single recorded, so that you’re not stopping and starting continuously. Play as many shows and supports so that you’ll be rehearsed and ready when opportunities come in.”

On the next panel subjects include maintaining momentum, gaining financial stability and taking care of ones well being. A new organisation in the form of BAPAM is introduced to me, next to manager and sync specialist Chelsea Wood, PRS Foundation’s Lloyd Francis, and local artist Nadedja. Nadedja is a great example of an artist who’s been open about managing a work-life-social media balance, “I do what makes me feel good, and focus on a clear goal while trying not to compare myself to others. I choose opportunities that make sense for me and my career.” Chelsea makes sure to know her artists on a personal level when working as an artist manager, “the rat race never stops, so it’s important to zoom out and take time off, even though that might make you miss out on opportunities.” Dan added to that that people, and artists in particular, should act before things get to their worst, if you’re unwell, act, don’t simply push through, because the problem will only get worse.

On maintaining financial stability a common theme was to diversify and multiply income streams, options you have as an artist are to sell merchandise, this could be print on demand to minimise costs, and look at sync opportunities. Chelsea mentioned; “Don’t rely on funding, and think about getting a music lawyer.” Some music lawyers would be happy to work pro bono, and they are well connected within the industry which gives you the opportunity to extend your network. On collaborating with other professionals, audience-member Helen mentioned; “work with people you like and make sure that there is a need for what you’d like to do.” Dan added; “Communicate openly and set boundaries when you’re collaborating. To protect your mental and physical health, reach out to organisations such as Music Minds Matter, and make sure to stretch and warm up before a gig.” To add a last note on maintaining financial stability, Chelsea mentioned to not be afraid of change and to do what works for you as an artist, Lloyd added that PRS supports “risky pivots”, and Nadedja highlighted that not everything has to be for you, and that you have to do what feels comfortable and at the same time excites you.

Conferences might feel overwhelming, but when you take notes, be present, and introduce yourself to new connections, they can make a great deal of difference within your musical, or creative career. On Point Conference, organised by Tees Music Alliance, has always been a favourite, not just because it’s local, but also because of its caliber of speakers. With people that have just graduated, entered the scene, to those having worked within the creative industries for years, they all offer their own experience and perspective, and it’s always exciting and inspiring for me to connect with those that are like-minded and just as passionate as me about working in music.

We need your art

Music and politics are intrinsically entwined. Making music is an act of revolution. Using sounds and lyrics to share your thoughts, your feelings, and your perspectives on the world is a way of inspiring, mobilising others. Artists shouldn’t be afraid and fear what is thought of them, or to be disliked. Music and art should make people think and feel, be that about love, loss, or politics.

The world is on fire, she is burning because of us. We should be angry and up in arms to take back the reigns and show them how to lead compassionately. Our world leaders, they depend on us. Our multinationals, they need our hard-earned money to survive. When you decide to spend differently, their pockets will eventually start to empty. I have written before about part-time punks, and this is an extension of that point of view. What we need is more full-time punks, those truly living and breathing their music, their art. We suffer for our art and passions, because they are what makes us human.

Sadly I recently spoke to a well-known Dutch music journalist who found that artists shouldn’t bring their live show to a stand still to talk about politics. I was rather surprised to hear this from someone who is a fan of bands such as IDLES and Fontaines D.C., very much political acts. Artists have a stage, a platform, to share their views and to educate those that would not have been educated if it wasn’t for their favourite artists, a song they liked, a sound they were able to relax to. Artists, musicians, they decide to share their views, in their lyrics, their ethos, and on their stage. Frankly, I don’t think that anyone has anything to say about what an artist decides to do on stage as it is their show, their programme.

I am a fan of the bands I listen to and enjoy because of what they stand for. Their music, and their views are undeniably connected, and I don’t think they should be seen as separate. It is a privilege to be able to say that you would rather not hear about war, ethnic cleansing, and death. Most importantly, it is a privilege to be able to express yourself artistically, to share your thoughts and emotions into a language we all speak; music. We need your music, we need your thoughts, we need your art.