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Introducing… Performance in the Pub

I’m stupidly excited to be able to announce a thing I’ve been working on since just before Christmas, the first in a series of DIY performance shows in Leicester, called ‘Performance in the Pub’.

if something isn’t happening where you are, make it happen wherever.

Performance in the Pub began as an idea in my head as I was writing this article for my mate’s punk webzine about what DIY theatre and music can learn from one another. I realised that I’d been complaining about the lack of innovative programming in Leicester’s theatres, but doing nothing about it – and also while sort of knowing that the kind of stuff I thought it was missing don’t really suit massive venues like Curve etc. So, money/mouth is; here I am. Putting on small-scale, DIY and storytelling performance on in a pub.

The first event will be taking place in The Cookie Jar, The Crumblin’ Cookie’s brand new venue in the centre of Leicester. It will be a double bill of solo performance; Tassos Stevens with Jimmy Stewart, and Ira Brand with Keine Angst. BOTH OF WHICH ARE AMAZING. You can find lots more about this first show and the two performances on the Eventbrite where coincidentally, you can also get tickets.

WHY A PUB?

Because I’m so bored of all these divisions between art forms. And big shiny buildings that act like cathedrals to art/theatre/etc. They have their place, but the problem is it’s not a place that’s a part of most people’s lives. The pub, on the other hand, is. That’s why a pub. Single-form buildings only work heavily subsidised by either government (arts council) or large-scale commercialism (cinemas, large music venues), or alcohol (small venues). The latter is way more fun, so let’s fill nooks and crannies of these buildings with theatre, performance, dance, exhibitions, craft, music and more. Make our cities exciting, varied places to be. This is my contribution.

WHAT KIND OF PERFORMANCE?

Just stories really. I mean, that’s what most theatre and performance is. I’m saying ‘performance’ here, because most of it won’t be like a ‘proper play’. It’ll be stuff people made with their actual bodies in a room – trying ideas and stuff out until they found something that worked. Think of how bands put music together compared to how composers do – that’s the difference between ‘performance’ and ‘theatre’ for me. The performance I put on will be small-scale, DIY, and/or storytelling theatre. By turns loud, funny, heart racing, lovely, musical, spectacular, touching, and transporting. I can promise you it will be from some of the most exciting, innovative and brilliant acts in the UK, and as the UK is well good at performance, PROBABLY THE WORLD. Totes.

HOW MUCH DOES THIS COST?

How much does it cost me, or how much does it cost you? Well, basically I, and everyone involved in putting on PitP shows are working for free, I pay for the travel, food and accommodation of the performers, I give myself a pat on the back if I’m lucky. All the promotion, printing, deposit for the venue, website building, and everything is upfronted by me, and hopefully paid back by the money people donate for tickets. That leads us to:

How much does it cost you? Well actually that’s another important thing to me, that you can ‘trial’ this stuff, that if you really don’t want to spend a 5ver or whatever on it, that you can just walk in, and sit down, and see what you think, and maybe pay afterwards if you liked it. Or pay next time. That’s why it’s ‘donation based’ ticketing. If you’re looking for a guide price, though, it costs me roughly £350-£400 to put on each show. If I sell out the venue at £5 each ticket then I break even. More is more to roll forward into more print/acts/etc. So if you want to help more happen £5 or over is ACE, you’re effectively only paying £2.50 per nationally or internationally known performance at that price ;) also; buy drinks. More drinks bought = I get the venue deposit back.

And while you’re still reading, why not follow @performancepub on Twitter, Like it on Facebook, and invite EVERYONE IN THE WORLD to the Facebook event. You can also go onto performanceinthepub.co.uk and check out where I’m horrifically self-plagiarising. Oh yes, and Tickets. Go forth!

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And as if my opinion mattered…

MUSIC. You know the drill. Music which I have enjoyed. In no particular order and all released this year apart from the first, which I only discovered this year, and is too ace to be missed out and AS IF YOU CARE ABOUT ME BREAKING THE RULES FOR IT. To be honest I think most of you come here for the theatre, so consider this an interlude. Where I will be way less articulate than usual, because this ain’t my form, man.

First up, FOLK PUNK AWESOME. ONSIND’s Dissatisfactions at first listen had me feeling it was a bit… I dunno, gaudy, but it properly, properly grew on me, and I always loved the first track, shouty righteous, and why the hell shouldn’t we shout about these things? Stand out track: Heterosexuality is a Construct

Next up, found – rather appropriately – on a late night stumbling through the internets. Biff from Crash of Rhinos morphs into Emphemetry (which I can never spell properly) with an album inspired by the streets of Derby. A Lullaby Hum for Tired Streets comes in a beautiful card/art booklet CD case. Sounds like orange streetlights and clammy streets and glimpses through the bright lit windows of strangers. Stand out track: Four Million Silhouettes.

Another Derby band, now, quite a new one, but full of awesome melodic energy and vocals with just the right amount of edge to them. Papayér’s EP (they also have a split with Nai Harvest on their bandcamp which you should definitely check out) is one of my favourite leaping-around-unnecessarily records. Stand out track: Dress for December

Last up from Derby, which I should really make an effort to get to more shows at in 2012, is the magnificent Crash of Rhinos with Distal. Physical copies put out by twitter mate Nick Moreton (@roundonefight). Tastily but not too thickly layered noise, bits of guitar feel nicely early-mid 2000s era Hundred Reasons/Reuben type stuff – but LOADS of well up to date vocals; feels like sheets of snow, crunchy, but you can sink into it really satisfactorily. Stand out track: Gold on Red.

In another version of this year I probably would have included Tellison here, I was going to SHOUT about them being STOLEN by associations with an evil* ex, but if it could be taken away I guess the music was only really loaned to me anyway. FEAR NOT, noble reader, it does not matter, for it made room for another ace Big Scary Monsters Recs band; the Sheffield-based Algiers. Their debut Four Priests EP has gloriously poppy vocals, ace driving drums, and nice chunky lyrics which I actually can’t resist singing along to. Stream one of their songs here. Better lyrics than Tellison, actually, I reckon. SO WHO WINS NOW, EX. Ahem. Stand out track: These January Versions.

*not actually evil, a nice chap, really.

Big Scary Monsters — Algiers - Four Priests CDEP

Now this one, I actually could understand some people not liking, mostly because it relies so heavily on the lead’s quite distinct vocals. But I find them proper beguiling, so I love it – Winter Forever by Seahaven. Some really good storytelling in the lyrics, too, makes up for occasionally unimaginative guitar-ing. Which is definitely a word. Standout track: Black and White.

Birmingham-based &U&I are formed of most of Blakfish, who apparently you should know if you like your math rock, which no doubt you all do. Anyway, &u&i are a bit more palatable and driving than Blakfish, which I find all kinds of ace. The Chancer’s Paradise EP is another must, but linking to a part-stream of their Light Bearer album release here. All the tasty changes in timings you’d expect from math rock (this is where I pretend I know about genres), with soaring proper firery sounding vocals. Stand out track: Belly Full of Fire and a Heart Full of Blood; mostly for its ability to injure me if I run to it.

This next one is probably at least top 3 for me, Brighton trio Tall Ships’ EP There is Nothing But Chemistry Here. Samples, synths, guitars, really foot tapping drums; half instrumental but with a fucking gorgeous array of vocals and clever lyrics at just the right moments. Feels like floating in the sea, balanced, sometimes serene but unpredictable, prepared to proper hurt you*. Stand out track: Vessels. Just listen to it. And also buy it. Big Scary Monster Recs again. Might just head over to Oxford so they can put a face to who’s buying all of their stock.

*can you tell I was a rubbish surfer? Waves hurt.

“PETER FUCKING WYETH”, once you listen to him (which you must) you will see why this excited shout (from me) was frowned upon by most of the audience. Humming New Time is full of quiet, delicate, soaring, exquisite, sampled, looped sounds all made by one man and an array of instruments/pedals. I loved it so much I cornered him after the gig and tried to convince him he should be making sound installations for theatre. Which he should. And he actually looked more interested in the idea than frightened by me, so if you’re a) in a position to do so, b) actually still reading, and c) interested in commissioning quiet immersive, transporting sound from him, DO. Would fit ace into a small airy room of BAC for the one-on-one fest, for example. Anyway, here’s the record. Hand lithographed hard copies a must-buy, too. Stand out track: ALL OF THEM. But if I had to choose, Sing to Me.

And finally, from Worcester, Watch Commander’s Closer to Home EP. The opening of the first track totally makes me feel 17 again; full of hubris and energy and fucking joy. Classic punky guitars and a good grate-y vocal (I mean that as a quality not a complaint). The kind of thing to leap around to with mates. Which is always a good note to end things on. Stand out track: Places.

et la fin.

Have an ace Christmas, and if you like these tracks, give the bands/labels money for them. Bandcamp makes that uber easy.