The path less-trodden; part II

Casamassima, Triggiano and Bronte  

In last week’s post I talked about an often-overlooked gem of a town, Gioia del Colle – 40 km inland from Bari and a town which has become renowned for its cheese and wine.  In this post I will turn my attention to three other off-the-beaten-track towns; Casamassima and Triggiano in Puglia and Bronte near Catania in Sicily.

The countryside around Bronte, Sicily.

Casamassima

“The building is horrible and really old and looks like it should be in a horror movie!”  

The teenage student had been asked to describe a building in his hometown and had chosen his scuola media (middle school).  He continued:

“And there are these really awful trees that grow outside and make the classrooms really dark.  For me; they should knock the school down and rebuild it again.” 

And when asked about whether he liked living in his hometown, Casamassima?

“Not really.  It’s a really boring small town and there’s not much to do apart from studying, running and going to the pizzeria.  Tourists never come here.” 

Then he remembered something that might vaguely be of interest:  

“Oh, but there is this one cool thing.  In the centro storico, some of the old houses are painted blue because they thought it would protect them during the… [he looks up the correct word] plague.” 

So, when I found myself with a school holiday in February, I took myself off to Casamassima – also known as Puglia’s ‘Blue Town’

It’s a town with a population of 19,000 that’s 25 minutes’ drive from Bari and nestled at the foot of the Murge Plateau.  It has an interesting history and was most likely founded during the Punic Wars by the Roman general Quintus Fabius Maximus Verrucosus.  In the 14th century it was attacked by the army of Louis I of Hungary and whilst nearby cities like Bari resisted the attack thanks to its city walls and defences, Casamassima fell and the troops razed the village to the ground, burning and killing everything in sight.  It was then subsequently rebuilt by the Principality of Taranto, under The Kingdom of Naples and later commandeered by the Acquaviva and Vaaz families (of Portuguese-Jewish origin). 

I arrived in Casamassima in the afternoon on a cold and blustery day and found myself a parking space, near an ugly school building surrounded by huge weeping willow-style trees, that spookily matched my student’s description.  If this was the place he was describing, he was spot-on, as you can see below.

Photo: Google Street View.

A short stroll took me into the town centre and after walking through a stone archway and into a narrow street, I found myself in Casamassima’s centro storico and soon enough I began to see several medieval-age stone buildings painted in light blue lime.  Casamassima is known in Puglia as “Il Paese Azzurro” (“The Blue Country”) and local legend has it that houses in the town were turned blue by adding copper sulphate to quicklime, after an outbreak of plague in 1658 (transmitted by sailors arriving at the port of Bari) to both ward off and show gratitude to the Madonna for protecting the town against the disease.  

In the 1960s, the Millan artist Vittorio Viviani was struck by Casamassima’s uniqueness and began painting new works using the town’s centre as the backdrop.  This played a part in reviving the centro storico’s fortunes and also resulted in a period of urbanisation in the town (up until then, most of its residents’ primary source of income had been from agriculture).  A large shopping and commercial centre (‘Parco Commerciale Casamassima’) was also built on the edge of the town, although it’s attracted much criticism from locals who see it as an eyesore and are dismayed by the fact that many of its units remain empty.  

Casamassima; ‘Il Paese Azzurro’.

This wasn’t my first visit to Casamassima though.  Back in the summer, I had visited Villa Pagliaro; an imposing masseria built around 1870.  ‘Masseria’ is the Pugliese word for a ‘fortified farmhouse’ and they are a common sight throughout the region.  There is a different word for these sorts of buildings, depending on which area of Italy you live in so ‘masseria’ is very typically and exclusively Puglian.  I had been given an Italian lesson (and delicious tomato and rosemary crostini) courtesy of one of its residents Tiziana, as well as a tour of the villa’s grounds – now mainly used for the cultivation of olives, cherries and when the season is right, Indian figs (or Barbary figs or the ‘prickly pear’).  Tiziana’s partner’s father owns the masseria and had been brought up there so the family was determined to continue making their living as authentically as possible, rather than transforming the building into a luxury wedding venue or boutique hotel, like so many others in the area.

Villa Pagliaro, Casamassima.

However, this masseria also had a secret.  During World War II, its top floors became something of an unofficial nightclub for Allied soldiers based in the area and was a place for them to hang out and socialise.  As well as an old piano, the attic levels of Villa Pagliaro still contain a number of well-preserved wall paintings and murals from the 1940s.  There is a great article about them on the fascinating Barese local history website Barinedita

The WWII-era murals on the top floor of the masseria. Photos: Barinedita.

Triggiano

Triggiano is another small town in Puglia; about 10 km from Bari driving in the direction of Rutigliano with 14th century origins.  If you want a snapshot of daily life in a sleepy Italian town then it’s worth spending a few hours in Triggiano.  

It’s actually larger than Casamassima (its population is circa 30,000 but somehow seems a lot quieter and quainter).  Its outskirts are mainly non-descript concrete apartment blocks but the town’s centre boasts a number of Baroque 17thcentury churches and a small centro storico.  There are plenty of cafes to choose from for a quick espresso hit, as well as the usual delis, pasticcerie and macellerie you’d expect to find in any typical Italian town.  Prices were actually slightly cheaper than in the larger cities like Bari and Lecce too.  On my way home, I also drove through the nearby Noicattaro and at 5pm on a Saturday the attractive centre was bustling with people fetching supplies for their evening ahead.  Perhaps a place to explore in greater detail in future. 

Triggiano apparently also has important emigrant communities in both the United States and Venezuela.  During the festival of the Madonna della Croce in late-September, families often return to the town to show their children their origins and to donate money to the locality. 

Out and about in Triggiano.

Bronte

I spent ten days exploring Sicily in September before the start of the new school year and just after my mates from London Mark and Stu had visited me in Bari.  The eight-hour drive through rugged and mountainous Calabria all the way to the ferry terminal at Villa San Giovanni was an experience in itself and I then spent time in Messina (a rough and ready port city but with good food), Cefalu (beautiful but touristy), Palermo (a fascinating, heaving multicultural city), Syracuse (steeped in ancient history and mythology, plus heavenly seafood), Fiumefreddo di Sicilia (um, The Godfather) and Catania (a lively, fun city full of hip hang-outs).  However, it was the small town of Bronte, about an hour from Catania and lying in Mount Etna’s shadow that really stood out to me. 

Bronte, Sicily.

Bronte is a town that revolves around the growing and harvesting of its very own ‘green gold’ – the pistachio nut.  Bronte’s pistachio nuts are said to have a unique flavour (“the perfect balance between sweet and savoury”), texture and vibrant green colour that is incomparable to any other and they are sought-after by chefs all over the world.  

Bronte’s position 760 metres above sea level and on the Western slopes of Mount Etna is said to contribute to its pistachios’ unique quality as the plants absorb nutrients and minerals from the soil containing old lava deposits.  The cultivation of pistachios is a tradition that’s handed down from father to son and retrieving the nut from the tree is still done by hand and in some cases, by shaking the plant.  As a result of this centuries-old and painstaking process, Bronte pistachios are DOP-certified (of course) and often fetch high prices.  You will notice in Sicily that rather than parmesan or pecorino cheese, crushed pistachios will often be served on top of pasta dishes and you can pick up a bag of these pre-crushed at local markets for only a couple of euros. 

The first impression of Bronte upon visiting is that it’s a very lush-looking and scenic place.  It’s surrounded by green hills, olive groves and cactus fields, yet the ominous presence of Mount Etna is clearly visible from just about anywhere in the town.  I stopped for lunch at a small café and picked up a panino, arancino, water and coffee for €2.50 and even though there were several shops dedicated to the humble pistachio nut, it didn’t seem like they were visited by many tourists (it is about one hour’s drive from Catania, around the other side of Mount Etna).  

Mount Etna from the road to Bronte.

I took a walk around its quiet, hilly streets, passing the occasional tractor and trailer and through a park that overlooked some hills covered in green vegetation before picking up some of these hallowed pistachios for my family back in the UK.  They were very tasty and succulent and were certainly a lot greener than the varieties you find in supermarkets. 

Bronte and the surrounding countryside is well worth a visit if you are looking for something a little more unusual to do in Sicily.  You can find out more about the town, its history and places to stay here.

Bronte, Sicily.

Gioia del Colle; a town built on cheese and wine

Exploring the path less-trodden

I’ve always been a little suspicious of the places that everyone says you simply have to visit and am naturally more drawn to the under-the-radar destinations that pass a lot of people by.  Whilst the pristine towns close to Bari on the Adriatic Coast like Monopoli and Polignano a Mare are lovely places to have lunch and spend an afternoon, I much preferred exploring the less conspicuous nearby coastal towns Giovinazzo and Mola di Bari, or the misunderstood, slightly rundown, but thoroughly absorbing Taranto.  

I’ve yet to visit Florence, Rome or Venice during my extended stay in Italy but I had a great time exploring Bologna, the backstreets of Lecce, Piacenza, Ravenna, Turin and Vasto.  In the rugged state of Calabria, most tourists head for the picturesque clifftop settlement of Tropea.  Instead I chose to divide my time between the backwater towns Belvedere Marittimo, Diamante and Scalea.  I think you have a more authentic experience than in the towns purely oriented for tourists and you get a better feel for everyday Italian life and culture this way.

Despite the ongoing disruption and travel restrictions that have been imposed over this past year as a result of the pandemic, I’ve tried my very best to see and experience as much of Italy as I’ve possibly been able to (also, of course, only when it’s been safe to do so).  For the early part of 2021, Puglia was classified as ‘zona gialla’ (‘yellow zone’) and we were not allowed to leave the region.  Whilst this was naturally frustrating; it was also a chance to visit some of lesser-known towns within Bari’s immediate vicinity. 

Gioia del Colle 

I had been intrigued by Gioia del Colle (“Joy of the Hill”) ever since reading about it during my visit to Taranto last August.  I had been told that Gioia was the go-to place in Puglia for buying the best fresh mozzarella and burrata (cream-filled mozzarella for the uninitiated) and that it was also famous for its red wine – the Gioia del Colle Primitivo.

I finally got around to visiting two weeks ago and was pleasantly surprised by what I found.  Gioia del Colle is a charming small town with a population of 28,000, about 40km inland from Bari, driving down the Strada Statale 100 in the direction of Mottola and Massafra.  Much of its prosperity going back hundreds of years has been as a result of agriculture and food production – cheese and wine, but also olive oil and pasta. 

As with many Pugliese towns, its outskirts are nondescript and a tad industrial; casual urban sprawl, dotted with the odd mid-century concrete high-rise and petrol station.  However, the quaint town centre is focused around the nucleus of the central Piazza Plebiscito and several ornate Baroque churches namely, Chiesa di San FrancescoChiesa di San Rocco and Chiesa di Santa Maria Maggiore.  The latter was originally built in the 11th century and then rebuilt in 1764 following a fire and acts as the city’s principal place of Christian worship.  It’s also located in the oldest part of the city, on the edge of the claustrophobic residential maze of the Centro Storico and a stone’s throw from the Norman-Swabian Castle which has Byzantine origins.  The castle is now home to the Gioia del Colle National Archaeological Museum.

Clockwise (from top left); 1.) Looking towards Chiesa di Santa Maria Maggiore. 2.) The church’s interior. 3.) Inside Chiesa di San Francesco. 4.) Chiesa di San Rocco. 5.) Its ornate interior. 6.) The Norman-Swabian Castle.

I arrived in the town after lunch when all was still quiet due to the Italian South’s habitual early afternoon period of downtime, il pisolino.  It wasn’t until nearer 5pm that the town whirred into action again, its caseifici and macellerie opening their doors for the second time that day, Chiesa Santa Maria Maggiore preparing for the early evening funeral of a local dignitary (the hearse was struggling to manoeuvre the corners of the medieval streets of the Centro Storico when I passed it) and the central piazza becoming a meeting places for both teenagers and uomini vecchi (“elderly men”), alike.

Piazza Plebiscito.

Gioia del Colle’s best-known export is its cheese and its mozzarella has even been awarded the much-coveted DOP (‘Denominazione d’Origine Protetta’) certification.  This DOP label ensures that not only has the product been made with locally-sourced ingredients and by local farmers and artisans but that it has also been created using time-honoured traditional methods.  Admittedly, Italy’s mild climate, all-year sunshine and fertile (and in some places, volcanic) soil makes it something of an agricultural nirvana and there are numerous different esteemed DOPs for any given product.  Italy currently has 138 DOPs in total and over 40 for extra virgin olive oil alone. 

Despite having started 2021 on something of a post-Christmas health-kick (rigorous daily exercise, curtailing the booze and copious amounts of oats, natural yoghurt and cider vinegar), I thought it would be rude not to delve into some of the dairified delights of Gioia’s cheese shops (known as ‘caseifici’).  After some quick-iPhone led research I decided on ‘Caseificio Artigianale “Masseria Corvello” di Michele Spinelli’ on Via Gabriele d’Annunzio, a short walk from the town centre.  It proved to be an excellent choice and I was reassured that rather than having a huge cabinet full of lots of different types of cheese, they stuck to a smaller number that they obviously knew were really special.  

The counter at Caseificio Artignale ‘Masseria Corvello’, Gioia del Colle.

I picked up some Gioia del Colle DOP mozzarella, a chunk of provolone, a small cylinder of the salty Pugliese semi-soft cheese Cacioricotta and an unusual white cheese that the lady behind the counter described as “formaggi fermentato”.  The small individual pearls of mozzarella were delicious and succulent enough to enjoy as a starter with just a drizzle of olive oil, cracked black pepper and some green valerianella leaves (cooking with it seemed like sacrilege).  The provolone was ideal for grating into pasta and for baking with and it’s long-lasting – there’s still plenty left.  Cacioricotta has been a favourite Pugliese cheese of mine for a while and is equally tasty served with cooked orecchiette and tomatoes (the classic dish Orecchiette al sugo), or on its own with slices of fruit such as figs.  The formaggi fermentato was a real revelation; a pungent white cheese that was soft in texture but had the saltiness and bitterness of a strong Roquefort.

Gioia is also famed for its wine and in particular its Primitivo variety which is typical of Puglia and ‘DOC’-certified – ‘Denominazione di origine controllata’.  It is required to have a minimum alcohol level of 13% and it is thought to have been popularised in the area by monks who found conditions suitable for cultivating the vine during the Middle Ages.  I didn’t buy any wine during my visit to Gioia but did see a bottle of its Primitivo for sale in Bari a week later for €23.  Perhaps one for next time I’m celebrating.

I did manage to track down the former site of the Cassano Distillery on the edge of town though.  In the late 19thcentury, Gioia del Colle was renowned for not only its wine but also its cognac and spirits using leftover wine that had been distilled.  The Cassano Distillery was opened in a former farm in 1891 and thrived until 1914 when the business transferred into the ownership of the Taranto Family and the distillery then subsequently fell into disrepair.  It was transferred to the health authority in 1970 to be converted into a hospital but then was taken over by the municipality of Gioia del Colle in 1997.  It was renovated in 2006 and is today protected by the Ministry of Culture and Environment as a site of monumental and environmental heritage and hosts concerts and events.  It was unfortunately closed up and deserted when I visited but it would be very interesting to explore in non-Covid times. 

8km to the north-east of Gioia is the WWF-protected woodland area Boschi Romanazzi.  I thought I’d take a quick detour via there on my way home and as the light began to fade.  The main road forked right down an unmade road, took me past a grand-looking pair of gates, a roadside shrine to the Madonna and then a lonely crumbling masseria (someone’s dream home in the waiting, before opening out into an expanse of deciduous trees and green fields.  It actually looked quintessentially English and was very different to the arid plains and olive groves that surround Bari.  A fox even jumped over a hedge in front of my car and for a moment I had to pull over to Google “are there foxes in Italy?”.  For some reason, I thought they only stuck to Northern Europe.  

The crumbling masseria I passed on my way to Boschi Romanazzi.

I continued down a track marked by a sign with a large red circle and a white line running across it and then clocked a farmer on a rusty-looking tractor who was finishing his day’s work.  He eyed my bright red car with an English registration plate suspiciously and I decided it was the right time to turn around and head back to the main road.  I filled the tank up with petrol, got back on the SS100 and made good time getting back to Bari, eager to be home ahead of the 10pm Covid curfew.  

Boschi Romanazzi, Gioia del Colle.

As with many obscure Italian towns, Gioia del Colle actually has a tenuous link to Hollywood celebrity too.  Sylvester Stallone’s grandparents Silvestro (a barber in the town) and Pulchiera were born and raised in Gioia before emigrating to America in 1930.  There is even a mysterious photo in existence of Sylvester, alongside his father and brother in 1965, said to be taken in the town.  Its location has never been able to be confirmed though.

Gioia del Colle is definitely worth a visit if you are in Puglia.  It’s driveable in a day from the cities Bari, Brindisi and Taranto and there’s enough in the town to even make a relaxing weekend break.  It might be a good idea to fast leading up to it though, bearing in mind the calories you are likely to consume in decadent cheeses and rich red wine.

The streets near to Gioia del Colle’s Centro Storico and the town hall (“Comune di Gioia del Colle”).

In my next post; I’ll continue the theme of exploring under-the-radar places and will talk a little about Puglia’s “blue town” Casamassima, nearby Triggiano and a small town under Mount Etna’s shadow in Sicily whose economy revolves around “the green gold” – the humble pistachio nut. 

Was this the best all-girl group of the past 20 years?

Why The Pipettes were marvellously out of place in 2004

15 years ago this month, The Pipettes released their first single to dent the UK Top 40 (reaching number 35 in March 2006), ‘Your Kisses Are Wasted On Me’.  Whilst it’s a jaunty-sounding two-minute pop song with a catchy refrain, it contains a wistful pre-chorus and a barbed lyric where the singer pleads with a needy ex-boyfriend to finally leave her alone.  “And you might cry for some time” and then later in the track; “I want you out of here, don’t send me wild / you’re just a child.”  

On a trip to Nashville, Tennessee some years later whilst working for the Jack Daniel’s music team, I found out that a colleague actually met her future husband at the video shoot for ‘Your Kisses Are Wasted On Me’.  The band invited fans to be in the audience and it was shot at the much-missed Kilburn Luminaire – both Music Week and Time Out London’s ‘Venue of the Year’, before closing its doors and being turned into student accommodation in 2011. 

The official video to ‘Your Kisses Are Wasted On Me’.

The Pipettes formed in Brighton in 2003 and the group originally started life as the vision of local musician, actor and writer Robert “Monster Bobby” Barry.  Bobby was already a luminary of the city’s alternative music scene and friends with established Brighton bands such as British Sea Power, The Eighties Matchbox B-Line Disaster, The Electric Soft Parade and Brakes.  Inspired by the heartbreak pop of the girl groups of the early 1960s, yet determined to give it a modern slant, Bobby recruited various faces from across the Brighton music world and brought them together for an initial get-together at The Basketmaker’s Arms on Gloucester Road in the North Laine area.  The first line-up of The Pipettes was born.

The Pipettes. Left-to-right; RiotBecki, Gwenno, Rosay.

Consisting of three singers and their respective adopted alter egos; poet and photographer Julia Clark-Lowes (“The Duchess”), Rebecca Stephens (more commonly referred to as “RiotBecki”) and multi-instrumentalist Rose Elinor Dougall (“Rosay”), it was agreed that The Pipettes would be backed by an all-male band known as The Cassettes.  This would feature Monster Bobby himself on guitar, drummer Joe Van Moyland and brothers Jon and Seb Falcone.  Only the three female Pipettes would take part in any interviews and the individual personalities of The Cassettes were deliberately largely anonymous; in live shows, members could only be identified by the initials embroidered on the musicians’ matching knitted beige cardigans.  Julia would leave The Pipettes in 2005 and be replaced by the Cardiff-born singer Gwenno Saunders who had left Wales aged 16 and moved to Las Vegas to star in Michael Flatley’s ‘Lord of the Dance’

In contrast to the drab outfits The Cassettes wore onstage, The Pipettes’ uniform were kitsch blue and white polka dot dresses, heavily leaning on late-1950s fashion.  Their sound wore its influences on its sleeve too; Phil Spector-produced girl groups like The Ronettes and The Crystals, the harder-edged Shangri-Las and Motown’s more soulful Supremes, yet also British Invasion-era solo artists such as Cilla Black, Helen Shapiro, Sandie Shaw and Dusty Springfield.  However, songs such as ‘Pull Shapes’ also showed a more modern side, incorporating electronic and disco elements, as well as the songwriting and production prowess of the ‘80s powerhouse Eurobeat trio Stock Aitken Waterman.

‘Because It’s Not Love (But It’s Still A Feeling)’

Despite being heavily influenced musically by the ‘60s, ‘70s and ‘80s, The Pipettes’ attitude and lyrical content was thoroughly modern and the group avoided falling into the revivalism trap.  Whilst Dusty sang “I only want to be with you”, The Pipettes fiercely warned off potential suitors; “leave me alone, you’re just a one night stand.” The Crystals sang the praises of a male protagonist in their most famous song ‘He’s A Rebel’, but The Pipettes reminisced about Judy’, the intimidating bad girl at school; “she used to do things I thought were rude / but I never said anything to her face / ‘cuz my friends, I thought she’d kick my arse all over the place.”  Then there was the small matter of grievous bodily harm on the indie disco dancefloor in ‘It Hurts To See You Dance So Well’:

“Half past one on the dance-floor,
And my thoughts have turned to murder,
Can’t these strangers feel my eyes, burning into them,
They know that I want to kill them.” 

‘It Hurts To See You Dance So Well’

‘It Hurts To See You Dance So Well’ live at the Brighton Freebutt. 30th September 2007.

The group also spoke in interviews about how their formation was very much a reaction to becoming tired of the post-Strokes and pre-Arcade Fire musical landscape of the early to mid-noughties.  Whilst not dissing their music specifically, they were also antipathetic towards The Beatles and the consequent legacy they inspired; in particular, “all of the really boring all-male guitar bands”.  When asked to name her favourite artists of the 1960s in an interview with the Spanish fanzine Yellow Melodies, Rose named girl groups “The Shirelles, The Chantelles and The Revlons” and tellingly, “Pulp and Sleater-Kinney” for the ‘90s.  The Pipettes definitely had a riot grrrl side to them too and even though their melodies were impeccable and unmistakably poppy, their songs were permeated with shrieks, yells and chants that wouldn’t be out of place on a Bikini Kill, Huggy Bear or Shrag record.

Various live shots of The Pipettes between 2005 and 2007.

I first saw The Pipettes live in late 2005 at the tiny Cardiff Barfly.  It was a matinee show on a Sunday afternoon and my English Literature coursemate Matt (later the frontman of the band Drowners) and I arrived early (and hungover) to gingerly nurse a lunchtime pint, unsure of exactly what to expect.  The crowd was relatively sparse but the show was great, with the band working their way through many of the tracks that would later appear on their debut album ‘We Are The Pipettes’ (released in July 2006 and produced by Gaz Parton of The Go! Team fame), complete with their trademark synchronised hand jives and choreography.  I also recall it being one of Gwenno’s first performances (if not the first) with the band and several friends and family were there with it being a hometown show for her.

The next time I saw them live would be 18 months later and in slightly different surroundings; The Pyramid Stage at Glastonbury 2007.  It was my first Glasto’, I had just turned 20, was bright-eyed and bushy-tailed and on Saturday had been up watching bands from 10am whilst my friends still dozed at our Kidney Mead campsite HQ.  Even though they went onstage in the lunchtime slot The Pipettes were my fourth act of the day; “you don’t seriously like these do you mate?”, was one of my more sceptical mate’s reactions to the gig. 

The Pipettes performing their signature tune ‘We Are The Pipettes’. The Pyramid Stage, Glastonbury. 23rd June 2007.

In many ways, that Pyramid Stage appearance represented the pinnacle of the first incarnation of The Pipettes’ career.  Their debut album was released to generally positive acclaim and their chart positions gradually increased with each single, peaking with ‘Pull Shapes’ (No. 26 in the UK, also in July 2006).  However, Rose Elinor Dougall and RiotBecki both left the band in early 2008 and the consequent revolving door policy of Pipette members never saw the band reach the same heights again.  2010’s album ‘Earth vs The Pipettes’ only featuring Gwenno and her sister Ani, bombed both critically and commercially.

The cover to the group’s debut album ‘We Are The Pipettes’.

The Pipettes story has a happy ending though and the group proved to be quite the launchpad for future endeavours.  Since leaving, Rose Elinor Dougall has had a well-respected solo career, releasing three albums and collaborating and touring with Mark Ronson.  Her brother Tom played guitar with the brief indie starlets Joe Lean & The Jing Jang Jong and is now in psychedelic band and former Heavenly Recordings signing Toy.  RiotBecki / Rebecca Stephens has collaborated with Californian singer Jesca Hoop and appears regularly with her live.  Former drummer Joe Van Moyland (real name; Joseph Bernays) was the frontman of the short-lived but massively-hyped aforementioned Joe Lean & The Jing Jang Jong and will be familiar to many readers as Sophie’s brother Jamie in the British comedy Peep Show.  

Clockwise (from top left); 1.) Rose Elinor Dougall performing live. 2.) Gwenno live at Islington Assembly Hall, 2018. 3.) The short-lived Joe Lean & The Jing Jang Jong. 4.) The Cassettes’ former drummer Joe playing Sophie’s brother Jamie in ‘Peep Show’.

It’s Gwenno though who has perhaps, experienced the most success since leaving the band in 2010. She initially toured as synth player with both Elton John and Pnau and then signed to Jeff Barrett’s eclectic Heavenly Recordings in 2015 as a solo artist in her own right.  She has since released several EPs and two widely-acclaimed minority language albums (she was raised by Welsh and Cornish language activist parents) including ‘Y Dydd Olaf’ (‘The Last Day’) which won The Welsh Music Prize in 2015 and 2018’s Cornish language album ‘Le Kov’.  The Cornish Language Board claimed that the latter directly resulted in a 15 percent increase in people taking Cornish language exams in 2018 and Gwenno was made a Bard of the Cornish Gorsedh at a ceremony in Saint Just, Penwith in 2019.  Gwenno also collaborated with the Manic Street Preachers in December 2020 to re-record English and Welsh versions of their track ‘Spectators of Suicide’, with the download proceeds going to food bank charity The Trussell Trust and Missing People UK

The Pipettes (and The Cassettes) were proudly independent and fiercely claimed that “we manufactured ourselves” and that every member was as involved in the creative process as the other.  That said, Rose and Gwenno have both since talked about how they eventually found being in the group “restrictive” as they began to develop musical ideas that were outside of the tried-and-tested formula and given the free-spirited nature of all of its members, The Pipettes would always have a limited shelf life.  They were fantastically out of place set against the musical backdrop of the time though (Jet, Razorlight and Kaiser Chiefs anyone?) and although they paid their dues to the girl groups of yesteryear musically, they put to right the subservience and patriarchal nature of their lyrics.  Outspoken, risqué and most importantly fun, The Pipettes were ahead of their time.  Give their debut album ‘We Are The Pipettes’ a spin and re-immerse yourself in their world for 33 minutes.

A 2006 mini-documentary about The Pipettes

The full set from The Pipettes’ show at the Camden Barfly. 25th February 2005