What my musical friends are up to…

I’ve been telling you a lot about what I’m up to musically of late, but I’ve got some rather talented friends who’ve been busy too, so here’s a quick and incomplete round-up of what a few of them have been doing:

First up there’s Ben Walker – fellow Tuttlist and fab singer-songwriter. He was writing 50 songs in 90 days, a few of which he wrote one Friday morning at Tuttle. One of those was called ‘You’re No-one If You’re Not On Twitter’ – here’s the video, which has been watched almost 300,000 times! (warning – it’s insanely catchy…)

Then there’s Jonatha Brooke – I met up with Jonatha in New York in January and she told me about a record she was about to record, featuring songs with words by Woody Guthrie for which she’s written the music. She was very excited, and I’m really happy to say that finished album shows the excitement wasn’t misplaced. I reviewed the album for this month’s Third Way magazine – It’s a truly exceptional album, and here’s a clip of her teaching Joe Sample (jazz legend, out of the Crusaders) how to play one of the songs:

Uhm, who else now? Seth Horan – solo bassist singer/songwriter, recently toured the UK. He’s doing an interesting thing with the production of his new album, that you can be involved in – here are two blog posts about that: Part 1 and part 2.

Iain Archer has an AMAZING new album out, recorded and released entirely under his own steam. Judging by the record, it was a VERY smart move. Beautiful stuff – check out the tunes from it on his myspace page.

And of course Lobelia – we’ve had some great gigs together of late, and here’s a lovely clip of her playing from the same gig as my ‘Don’t Stop Believin’ Vid’ –

More friends-news coming soon. 🙂

Listen to the Lawson/Dodds/Wood album now (if you want to :) )

First up, a HUGE thanks to everyone who’s bought the album already – thanks for the feedback, and thanks for investing in the music. It means that (if sales continue as they are) we’ll be able to pay for the pressing of the CD without going into any kind of debt… makes the whole process of being a musician who releases the kind of music that takes more than an hour to record MUCH more viable.

So, yeah, thanks. You all rule.

For those of you who, understandably, have been waiting to hear the album before dropping your money on it, your wait is over! Hurrah!

Via the wonders of last.fm, you can now listen to the album in its entirety before choosing whether to buy it. Just click on each track in turn in the player below –

We really hope you enjoy it.

I love the way releasing new music can inspire all kinds of other stuff around it – one of the nice things it does is it causes an upsurge in sales of back catalogue albums (sold more of my solo CDs in the last week than in the previous 2 months of online sales – and it means that Grace And Gratitude is now properly out of print on CD, but still available as a download 🙂 ), but it also gets me to do the things I should’ve done ages ago. Like uploading the Steve Lawson and Lobelia Live In Nebraska EP to Last.fm as well. It’s uploaded, and as I write is ‘processing’, but should be there before you read this…

Also, in more geeky news, for those of you that want to point friends to where they can get the album, the short URL www.stevelawson.net/ldw now goes to the shop page (which has the player embedded, and links to all the youtube videos too…)

Sustainable Touring Pt 1 – planning a house-concert tour.

I’ve just written a piece for MusicThinkTank.com about Sustainable touring, inspired by an interview on BBC 5Live with Geoff Hickman, the manager of Paris-based band, Televox – here’s the interview, and the video discussion that’s happening off the back of it on Phreadz…

The Music Think Tank post will go live in a few days (they have a new queuing system for new posts, where things get posted at more regular intervals – good idea, perhaps I should learn from that. 🙂 )

I don’t want to pre-empt what I wrote there, but one of the things that I do want to highlight at this point is that Lobelia and I are planning a house concert tour for early December – if you’re interested in hosting one, and are somewhere in or near the Southeast of England, please drop me a line. They are easy to organise, the logistics just being

  • travel,
  • an audience (can be any size),
  • some way of us getting paid (either ticket/donation, guarantee or a sponsor – we can sort that out by email)
  • a date!

For now, if you have any thoughts on the idea of sustainable/eco-touring, please throw them into the comments – would be nice to get your thoughts before mine go live on the MusicThinkTank blog for a change…

Nokia Open Lab 08. The write-up. part 1

Nokia Open Lab - photo by http://www.flickr.com/photos/ekaiI’ve just spent 3 days geeking out in Helsinki, at the Nokia Open Lab 08. The idea was to bring together 40 social media/mobile tech/blogging geeks in Helsinki for a series of workshops, discussions, talks and brainy mash-ups. The attendees were from all kinds of backgrounds, from corporate bloggers writing about tech stuff or financial markets, to sub-cultural social media conduits, using mobile technology to bring communities together and subvert standard media channels.

The format was really interesting, in that we were kind of thrown together with very little context, and left to work out what people’s areas of expertise were based on what they were willing/pushy enough to say in each of the discussions. So those of us who are extroverts naturally spoke at greater length than our respective knowledge bases necessarily warranted. Still, much value came out of the discussions, and a lot of people seem to have been fired up to use social media applications that they’d signed up for months ago but never really found a use for.

From Nokia’s side, they got

  • a massive amount of internal and external marketing footage from the conference
  • a load of online content bigging up their products
  • some quality, focussed expert product and service feedback
  • a whole bunch of enthusiastic interaction with some of their technology’s most progressive early adopters.

I’ll hopefully write up a lot of what I thought about the conference, but I think I’ll actually start at the end, with what the whole thing meant for musicians:

It was really interesting to be brought in by a mega transnational corporation to discuss mobile technology, given that my focus is largely empowering creatives to create without recourse to the corporate world – I’m not a fan of ad-sponsored music promotion streams and clearly not into the big record label model of yore. So in a sense there was some bravery in Nokia inviting people like me in without any kind of NDA/Contractual obligation not to slam their very existence (like anyone would really give a shit if I did… but anyway…).

As a pragmatist, I liked being in a place where for a weekend, I could largely think about ‘the best we can do within this kind of corporate framework’ – what does a company like Nokia have to offer the world of creativity and progressive political interaction by way of infrastructure and support? How can we as creatives use this technology, and perhaps even work with Nokia, in promoting a culture of un-fettered art. What can they do to help?

In approaching it from that angle, there were quite a few frustrations – the biggest being the session on the ‘future of entertainment’ – the scene was set by Anne Toole, talking from her background as a very experienced ‘old media’ writer (TV/film), now moved into the games industry. She talked a lot about her notion of what ‘film’ is – I think the idea was to get us thinking conceptually about the future of ‘The Industry’ in whatever our group were going to be discussing.

However, for me, the start point would have been the antithesis of what she was saying – I would have blown the doors off any attempt to define ‘film’ beyond it being ‘a series of pictures projected as a fast enough rate as to give the appearance of motion’, and then got people to think about the deep stuff of how we can make the world of film – both that which is designed to ‘entertain’ but also the information/pure art end of the spectrum – more interesting, more engaging, more productive, more subversive, more enjoyable, through social media and mobile technology.

But the big problem wasn’t that I disagreed with what I thought she was saying, it’s that she had no way of knowing I was thinking that and therefor couldn’t clarify whether or not I’d got completely the wrong end of the stick. So problem #1 was the format of the ‘presentation’ part, not the content (disagreement is vital to progressive discussion, but it has to be open and ‘real time’…)

Problem #2 was the way we were divided up. There were four groups – music, film, games and ‘me media’ (me media being cleverly named, given Nokia’s latest ad campaign… 😉 ) – and we were arbitrarily assigned to them. We could have swapped. I could’ve just wandered over to the music camp, but I didn’t. I was stuck in the games group. I don’t think it’s any surprise to anyone that I effing hate games. Actually no, not games, I hate Games. I play games all the time – twitter, facebook, myspace, who’s going to fill the dishwasher. All fun, exciting, enjoyable games. I just couldn’t give a shit about the Games Industry.

I am however innately curious, and fairly good at conceptual abstraction, so we managed to have a cool discussion about games, gaming, and game principles abstracted from game culture. But still, there was a discussion about the future of the music industry and its relationship with social media/mob-tech, and I WASN’T IN IT.

W. T. F?

Yup, my fault for not getting up and moving. But their fault for not facilitating a coming together of people with expertise in the area. I would have LOVED to bang heads with the guys from the Nokia music store (not launched yet), to chat with people who see music as part of the ‘entertainment industry’, to people who favour ad-revenue models for ‘feels like free’ music. I’ve got about 150,000 words of stuff written on the subject 🙂

And we did have those conversations – that was the strength of the conference. As with all conferences, the conversations after the sessions were the main course. the sessions were largely high-functioning ice-breakers. The magic of Nokia Open Lab 08 started at 3pm on Saturday after the closing speech.

So post #2 will start to look at what we covered in the rest of the sessions, and where we go from here. Or maybe that’ll be post #3. Or #4… 😉

Post-greenbelt. How Was It For You?

We’re home from Greenbelt. Will do a proper blow by blow account soon, but for now, a few thoughts on a Qik video (I am as tired as I look in the vid 🙂 )

Please post links to your own Greenbelt blogs, videos & photos in the comments below…

Telling Stories (new post on Creative-Choices.co.uk )

I’ve put another post up at Creative-Choices.co.uk, titled “Telling Stories…”

The premise behind it is that everything we do as musicians has a story attached, and if you’re not telling it, someone else is. It’s a theme I hope to develop more here, or there, but for now, head over to the Creative Choices site to read it. And feel free to comment – you’ll have to log in there, but it doesn’t take long 🙂

Paradigm is no measure of quality – what to do when you're 'different'…

This post is inspired by two things – firstly, a conversation I had recently with the very lovely Laura Kidd. We’d known each other quite a few weeks before she finally bothered to listen to any of the music I did, assuming that because it was solo bass it would be a load of techno-wank bass cleverness and therefor not something she’d be interested in. She eventually listened to it, probably as much out of politeness as anything, and said with a large degree of surprise the next time I saw her how much she liked it.

She was quite embarrassed, but actually her response is pretty much mine whenever I get an email or get given a CD and told ‘you’ll really like this, it’s solo bass’.

The problem is that solo bass is neither a style of music, not does it carry any indication of quality. And, for the most part, I’m not hugely into what happens on solo bass. There are some very notable exceptions to this, and some of my favourite musicians in the world are indeed solo bassists, but as a ‘draw’, solo bass doesn’t really work for me without some evidence that there’s more to it than the tools of the trade.

Same goes for ‘loop music’, ‘ambient music’, or any other vague classification I might fit into. It’s one of the reasons I find it so tricky to accurately sum up what I do in a single sentence…

The 2nd thing that inspired this as a topic was thinking about mine and Lobelia‘s upcoming gig at Darbucka. Going out to live shows in a city as big as London can be such a chore, and venues are, by and large, becoming less and less pleasant places to hang out. I don’t want to stand around in a dark smelly hall surrounded by drunk people shouting waiting for a band to come on only to find that I can’t hear them play anyway… I’m immediately wary of any gig in a venue I haven’t heard of, and I’m guessing that most of the people who would enjoy my gigs feel similarly.

So how do you get it across to people that a night out at Darbucka is ‘not like other gigs’? That the venue is cool enough to be worth a night out on its own, that the food is great, the ambience is really mellow, the sound is always cracking, it’s a fun night, people listen, the audience are generally lovely, and there’ll be the return of the lovely bloke playing Ukulele and singing, as well as all the usual Steve ‘n’ Lobelia loveliness.

That, dear readers, is where you lot come in. Cos nothing at all beats word of mouth in spreading that kind of info. I can rant til I’m blue in the face about how fab my own gigs are, but hey, they’re my gigs, I’m bound to say that. Why should anyone believe me when I have a vested interest in them being there?

…I hope that for most of you reading this, that last bit is rhetorical, that it’s clear I do try to be honest about what I’m doing, and definitely go out of my way to put on the best gig I can (despite Darbucka having it’s own PA, and me not owning a car, I still take my own PA down there cos the sound is better, for example 🙂 )

So, if you’ve been to see us before, take the next couple of mins to tell someone about it – post a comment on last.fm or Myspace, or hey, just post a comment on here! Tweet about it, blog about it, or call up some friends if you’re in London and bring ’em along. If you’re bringing loads, email me for a group discount 🙂

Hope to see you at Darbucka on Tuesday 29th July – it’ll be a really lovely mellow, fun night out, I promise!

Taking Care of Business (new post on Creative-Choices.co.uk)

I posted a new article up on the Creative Choices site. It’s a few lessons learned from last week’s tour… I’ll write more extensively about the tour here once we’ve debriefed it properly as a band, but the tour just provided the impetus for a post about the need to make creative ventures financially viable if you want to do more of them.

You can read the post by clicking here – and if you sign in once you get there, you can comment. There are a few really interesting comments already.

Also generating loads of great comments is part for of my teaching thoughts series here. Thanks so much for all your comments there!

Enjoy!

Teaching Thoughts Pt 4 – Pleasing parents is bad for the student.

One of the things I most like about teaching electric bass is that very few kids are ever told by their parents to play it. ‘You need to learn piano/violin/clarinet because I never had the chance’ is the bane of so many teacher’s lives and one of the main driving forces behind kids giving up playing an instrument as soon as they are afford a degree of self determination by their parents.

In all my time teaching bass (15 years) I think I’ve had 3 students ask to do graded exams. In the same time over half the parents that have brought their kids to me have asked whether or not it would be a good idea. There’s an assumption in education these days that people a) need some kind of external certificated validation in order to measure where they are up to and b) that without that, students will lack motivation and will just slack off because no-one’s telling them what to do.

For me as a teacher it’s imperative to get across to my students – especially the younger ones – that them not practicing has no impact on me whatsoever. I can just pick up where we left off in the last lesson as though the time were continuous. The point of practice is never to placate me. Practice serves two purposes – it’s enjoyable (if done right) and you get better – the two are clearly deeply linked. The idea that practice has to be torturous is another crap hang-over from the music education of the early 20th century, where suffering was a signal of how serious you were about what you’re doing. That’s clearly bollocks, especially for people with families, friends, jobs, school work and other interests. Practice time should be valued time in and of itself not just for the pay-off. The pay-off makes it even better, but playing an instrument should be fun!

That doesn’t mean that it doesn’t require a large degree of self-discipline, commitment and focus, it’s just that we’re selling kids short by telling them that those things can’t be enjoyable!

These are all elements in my reasoning for not following a syllabus. If a students comes into a lesson, tells me about a gig they just went to, and I then teach them something the band they’ve just seen – whether it be an actual song by them, or something that can be drawn from that music – they can pulled a little closer to the magic at the heart of music. The gap between them and the music they love is lessened and the feeling that the magic is in their reach is heightened.

At the heart of what I teach is a desire to help the student write and play music that can change the world. It might not, but the desire to play the songs that have soundtracked their life – whether that’s Mozart or Metallica, Stockhausen or Stock, Aitken And Waterman – and to then create their own music is what drives individuals to learn an instrument, and pandering to the wishes of pushy parents who want lil’ Tommy to get certificates so they can brag to the other mums and dads about the distinction he scored in his grade 3 exam is the death-knell of lil’ Tommy’s musical aspiration.

Parental encouragement is often an utterly vital and energising force in the music-life of a student. I still take inspiration from my mum’s on going encouragement of what I do, and am thankfully big enough to ignore the distain with which my dad views my musical endeavours. Channeled in the right way, parents can be integral to the musical growth of a student. But if pushy parents are allowed to ride roughshod over what Tommy actually wants to do with music, he’ll end up as one of the 95% who give up before they are 18, and may resent it for decades to come.

We’re your parents an encouragement or a hindrance to your creative path? Comments pleeeeeze

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