Just another day in Madonnella

My street in Madonnella, Bari.

In Bari, I live in the Madonnella district of the city.  It’s a fairly traditional part of town that hugs the Adriatic coast to the north-east and is a 10-minute walk from both Bari Vecchia (the medieval Old Town containing the Basilica di San Nicola, Piazza del Ferrarese and Piazza Mercantile) and Murat, the more modern city centre and main shopping area – where I work.  It also shares a border with the grittier Japigia neighbourhood to the south-east and San Pasquale to the south-west, over the railway line that intersects the city.  Indeed, the original site of the Peroni brewery on Via Giovanni Amendola is just a short walk away over the tracks.  Sadly, this was demolished in the last century and the factory relocated to the outskirts of the city.

Clockwise (from top left); 1.) The old Peroni brewery on Via Giovanni Amendola, San Pasquale. 2.) Various shots of Madonnella. 3.) Piazza Francesco Carabellese.

Madonnella gets its name from a statue of the Madonna that was placed in the area’s main square in the latter part of the 19th century.  The original statue is thought to have been destroyed after World War II but was replaced in stone in 1956 and still stands today in Piazza Francesco Carabellese, a stone’s throw from my flat.  As well as its numerous cafes, pasticcerie (cake shops), formaggerie (cheese shops), salumerie (salami shops) and pollerie (erm, poultry shops), Madonnella is dotted with various shrines and religious icons.  

The statue of the Madonna. Piazza Francesco Carabellese, Madonnella.

On my street itself, is a shrine to Saint Antonio of Padua; a Portuguese Catholic priest who devoted most of his life to caring for the poor and the sick before unfortunately succumbing to ergot-poisoning at the tender age of 35 in 1231 in – you’ve guessed it – Padua.  His shrine has its very own lace curtain, healthy-looking plants and flowers that are watered and well-tended to, lights that turn on in the evening and a small piece of red carpet on the pavement that I feel a little guilty walking over whenever I’m returning home with bags of shopping and aren’t able to step into the road.  Miniature Christmas trees and fairy lights even appeared on the shrine in December.  It is immaculate and reminds me of many of the Hindu shrines I saw during my time in India.

For two weeks at the beginning of June, Saint Antonio’s shrine became a hive of activity and excitement. The flowers were even more lovingly attended to than usual and a circle of plastic chairs were placed around the shrine, partially obstructing the road.  Then at 6pm each day, there were daily evening prayers, followed by the odd song.  A group of elder ladies would sit on the plastic chairs circling the shrine, whilst other people living on the street would also take part – leaning over from their balconies to join in and to recite prayers and then bellow out the songs.

Saint Antonio’s shrine in December.

Then on the 13th June – Saint Antonio’s ‘Feast Day’ – the street threw an all-day party to celebrate.  An early morning service was followed by a communal lunch with a long table placed in the middle of the road and the slightly shady “we only serve beer and Fanta” ‘bar’ opposite pumped out reggaeton bangers from 8am until dusk.  There was quite a sizeable pile of empty Peroni bottles left outside by the end of proceedings.

Every now and again a statue of a mysterious lady, shrouded in black, crying and holding a tissue and rosary beads appears next to Saint Antonio’s shrine.  Sometimes, there would be a small wicker basket next to her containing print-outs of prayers.  There’s no denying she’s a slightly ominous presence.  She appeared (perhaps on purpose) whilst my friends Mark and Stuart were visiting from London in September, much to their bemusement.  “Her eyes are following us”, noted one of them as we cautiously filed past her one evening on our way to the city centre.  This mysterious figure tends to appear for a week or so and then disappear again, as quickly as she emerged.

Some research has led me to believe that this mysterious occasional visitor to the shrine is ‘SS Sorrowful’ or ‘Our Lady of Sorrows’ – a Catholic representation of Mary, the mother of Jesus.  Her ‘sorrowful’ nature reflects the “seven sorrows in her life” and are sometimes depicted as “seven daggers plunged into her heart”.  Sounds uncomfortable.

It turns out this this representation of the Virgin Mary also has her own dedicated feast day on 15th September.  It transpired that the celebrations for poor old Saint Antonio back in June were nothing compared to this.  It would appear that SS Sorrowful is something of a night owl as the festivities didn’t really get going until the evening. However; soon it felt like most of the street was out in force.  After the religious ceremony which was conducted by a priest, there was music (the bar opposite again doing the honours), food and then a grand firework display with many of my neighbours setting off DIY pyrotechnics from the roofs of their homes.  Things eventually quietened down shortly after midnight.

The celebration of Our Lady of Sorrows’ Feast Day on 15th September.

Over the past year I have grown very fond of this little street in Madonnella that I am currently calling home.  My flat may be freezing and a little damp during the winter months due to a lack of central heating (from December until the end of February I spend a large amount of my time in hoodies, jogging bottoms and a combination of blankets), but there is never a dull day here – much in a way that is similar to Brixton, my home in London.  Organised religion aside and there is definitely a genuine sense of a co-existing community.  Whilst I am definitely in the minority being British; there is a real mix of nationalities.  As well as Italians, my neighbours included Chinese, Mauritians and Indian families.  Last year, the Carabinieri arrived one Sunday afternoon and appeared to be very publically checking some of my neighbours’ documents.  Whilst this was going on, several of my Italian neighbours came to their defence, angrily shouting at the police from their balconies.  The Carabinieri soon went on their way. 

I enjoyed a tempestuous relationship with one of my downstairs neighbours.  During the summer, the air conditioning unit on my balcony was unbeknownst to me, slowly dripping onto the pavement just outside his front door below.  He rushed upstairs one evening, lit cigarette in-mouth to shout at me and make me aware in a very animated fashion that there was an issue.  I apologised and placing a bucket on the balcony soon resolved the problem.  A few weeks later and after seeing one of my ‘nonna’ neighbours do it, I thought it would be ok to use some of the water that had collected in the bucket to rinse my balcony.  Big mistake.  Once again, I heard a flurry of footsteps coming up the hallway stairs outside my flat and I opened my door to find my neighbour outside shouting “basta!” repeatedly at me.  I soon found out that the word meant ‘enough!’.  

We patched things up though and were pleasant to each other over the next few months; he even helped me to test the intercom buzzer of my front door when it stopped working.  However, I recently noticed that he had moved out and that two middle-aged Indian ladies have moved in in his place.  A few nights ago and there was a big storm in Bari; with wind and rain lashing down on the streets.  I heard some banging coming from downstairs and looked out to see that the two ladies were trying to fasten their front door shut as the double doors kept flying open in the wind.  One of the elder Italian nonnas who lives opposite was also there with them – trying to fix the door shut despite the elements raging around them.  Eventually they succeeded, the banging stopped and the nonna returned home.

I don’t know the lady in question’s name yet but we are on friendly enough terms – usually a wave or a brief “ciao!”.  From what I gather she lives with her mother, sister and daughter in the same apartment and appears to be the street’s matriarch.  Last year I was spotted driving a car and she stopped and warned me to be careful of “gli animali” (“the animals”).  Who knew that inner city Bari is such a haven for wildlife? 

On a few occasions now, there’s been a knock or a ring with some urgency at the communal front door downstairs.  When I’ve gone to open it, she’s there, looking for “il gatto!” – a mischievous cat who has taken a liking to the balcony in our hallway, as well as the corrugated iron roof beyond it.  Several times I’ve let her in so she can stand on the balcony and gradually coax the said cat back down.  

In my basic Italian I asked her on the most recent instance; “è il tuo gatto?” (“is it your cat?”).

“No!”, she replied, laughing, as though I’d asked her a daft question.  “Un gatto di strada!”  

So, this kindly soul has taken it upon herself to look after and protect the local street cat.  Maybe she is an animal lover at heart or just a good person.  Or perhaps the cat keeps the rodent population down.

Either way, keep reading for more stories from Madonnella. 

Looking towards Piazza Francesco Carabellese from my flat in Madonnella.

All is quiet on the street during the daily riposo (1pm – 5pm)

Why sometimes you should talk to strangers (and how I discovered Phyllis Hyman)

In years gone by I have had something of a reputation amongst friends for having a low-pass filter when it came to talking to complete strangers and giving them the time of day.  

There was the bar crawl whilst on holiday in Lisbon that started off as four of us and gradually expanded to a lively motley crew containing Germans, Finns, Norwegians, a Tunisian and um, a group of guys and girls from Stoke, as we incorporated new people into our group with every establishment we visited.  There was the 50-something woman I got chatting to in a casino in Cardiff after a Tom Jones concert and who then somehow found my phone number the day next and called, eager to introduce me to her friends and her daughter.  At Glastonbury 2010 (one of the warmest festivals on record), we made friends with the people camping next to us in the Dairy Ground campsite and many years later I would end up becoming one of their neighbours in Brixton and we would subsequently form a folk duo.  In 2012, we would go on to perform three songs at a humanist baby blessing ceremony at the West London home of Countryfile presenter Julia Bradbury but that’s another story.  

My beloved Sharon Jones t- shirt; the same one that triggered the chance late night Brixton Road conversation that led me to discovering Phyllis Hyman’s music.

Then there was the time that I was supervising a group of teenage Kazakh, Polish, Spanish and Turkish students on a day trip to London, whilst working for the summer at a language school in Southampton.  The students were visiting the UK for a few months in order to improve their English skills and we had taken the train to London, visiting sites such as the V&A Museum and London Eye.  We had taken a breather and stopped for a spot of lunch by the wooden replica of Sir Francis Drake’s galleon, The Golden Hind on South Bank, just along from the Tate Modern.  

The kids all seemed happy enough and were tucking into their Pret sandwiches so I popped on the earphones of my iPod and had a few minutes to myself, ahead of a hectic afternoon of herding 25 students around Central London.  A homeless person emerged from around the corner clutching a can of Diamond White cider and asked what I was listening to.  I told him (it was August 2007 so it would most likely have been The Rakes’ second album or The Clash-sampling ‘Paper Planes’ by M.I.A.) and he then asked if it would also be possible for him to listen too?  I didn’t see the harm in it at the time so handed him one of the white iPod earphones which he placed into the recesses of his ear and we sat side-by-side for a minute or so, digesting the sounds of Mick Jones’ guitar before we exchanged a handshake and he went on his way.  The man didn’t seem in the greatest health so I thought it was the least I could do if it brightened up his day a bit.

Fast forward to July 2018 and it’s the day before my friends Emily and Matt’s wedding.  I had been out for the evening in Oval, Stockwell and then for a nightcap at the Three Eight Four cocktail bar on Coldharbour Lane, Brixton (a bar so achingly hip it has metal shopping baskets filled with light bulbs fastened to the walls for low-lit ambience).  I had decided to call it a night around 2am and said goodbye to a friend at Brixton tube station.

As I walked back up along the main road to my flat on Brixton Hill, an ever-so-slightly merry man stopped me;

“Yes mate!  Wicked t-shirt!”

I was wearing my prized ‘Make America Dance Again’ t-shirt in honour of the late, great soul singer Sharon Jones (now sadly fading and yellowing around the edges – a little like its owner). 

“I have a question for you”, continued my new acquaintance.

“Oh yeah?”; I replied cautiously.  Even though I have never felt unsafe at night in Brixton, it’s sensible to keep your wits about you at 2 o’clock in the morning. 

“Who do you think is the greatest female soul singer of all-time?” 

“Hmm…”  I thought about it for a moment and replied; “Aretha Franklin”

“Ahh, Areeethaa!  I hadn’t thought of her!”.  The topic had clearly been weighing on his mind for some time. 

Whilst the man seemed to agree with me; he also urged me to listen to another female soul singer he loved:

“Phyllis Hyman!  She had an amazing voice!” 

He even spelled out her name for me and enthusiastically encouraged me to check out some of her music.  I had never heard her name before but was now suitably intrigued. 

The conversation ended with a warm handshake and the Phyllis Hyman acolyte shouting “You’re a starboy!” (a term of endearment in Jamaican patois) as we headed off in opposite directions along Brixton Road.

I made it home and although I had a Saturday of wedding festivities ahead of me the following day, I quickly searched for ‘Phyllis Hyman’ and listened to a few of her songs.  Much to my pleasure, the man had been right and Phyllis Hyman did have an amazing voice.  I recognised her 1979 disco track ‘You Know How To Love Me’ but she also had a number of deeper, soulful ballads including ‘Old Friend and ‘Living All Alone’

Phyllis Hyman 

Over the next few weeks I began reading about Phyllis and finding out more about her background and her music.  She had been raised in Philadelphia and was part of the early Philly Soul scene before moving to New York in the mid-70s where she initially sang with jazz saxophonist Pharoah Sanders and The Fatback Band (known for their brilliant 1983 hit ‘I Found Lovin’), before releasing her debut album Phyllis Hyman in 1977 on Buddah Records – a label whose heritage she shared with the likes of Chic, Gladys Knight & The Pips, Curtis Mayfield and Bill Withers.

Hyman was well-known for her vivacious and at times, confrontational personality – she had been known to single out audience members if they were talking or on the phone during her performances.  As well as her recording career, she also performed in various Broadway musicals (including over 700 performances in the Duke Ellington tribute Sophisticated Ladies) and starred in several films.  She even recorded the signature track for the 1983 James Bond film Never Say Never Again, although the song was eventually shelved due to an authorship dispute.

After Buddah was acquired by Arista Records in the late 1970s, Hyman endured a tempestuous working relationship with Arista founder and notorious music industry mogul Clive Davis.  Phyllis felt that Davis did not understand her as an artist and was trying to strip her of her identity and market her incorrectly.  It was during this period that Hyman’s issues with substance abuse and food addiction became more serious and she was later diagnosed with bipolar disorder.  

In the mid-80s, Phyllis found a new lease of life after finally breaking free from her contract with Arista and began releasing music on Kenny Gamble and Leon Huff’s hallowed Philadelphia International label.  She also enjoyed a fruitful musical partnership with Gamble & Huff songwriters and producers Thom Bell and Linda Creed; most notably on Creed’s song ‘Old Friend’.  This was the final song that Creed would write before her death from breast cancer in 1986 at the age of 37.  Hyman, someone who felt the highs and lows of life very deeply, loved the song but found it extremely difficult to sing live and would frequently break down in tears onstage whilst performing it. 

Phyllis Hyman talking about ‘Old Friend’ in 1987

In 1991, Phyllis Hyman released her eighth studio album; In The Prime of My Life on Philadelphia International.  The album was her most successful yet and included the hit single ‘Don’t Wanna Change The World’ which reached the Billboard Top 100 and the top spot in the R&B chart.  The album spawned three further singles but it was sadly the last to be released during Phyllis’ lifetime.

Phyllis’ dependency on alcohol, cocaine and food continued into the mid-‘90s and she was hit hard by the deaths of both her grandmother and mother in 1993.  The people closest to her have spoken about how her moods became even more erratic and on 30th June 1995, after one previous failed suicide bid, she overdosed on a mixture of pentobarbital, secobarbital and vodka and was found unconscious in her West 56th Street apartment.  She died later that same day at St. Luke’s Roosevelt Hospital in New York – a week before her 46th birthday.  Her manager Glenda Gracia spoke of having a “sinking feeling” during this time and her sister Ann claimed in the TV One ‘Unsung’ documentary that she was “shocked, but not surprised”.  

Phyllis had been due to perform at the Apollo Theater in Harlem that very evening as part of the 30th anniversary celebrations of the US R&B vocal group The Whispers.  The members of The Whispers were distraught and felt the show should be cancelled out of respect.  However, it was Phyllis’ backing band who insisted that the show should continue as it would have been what she would have wanted.  The show went ahead as planned and became an emotional celebration of both The Whispers and Hyman’s music. 

So, here’s to the kindness of strangers and the music of Phyllis Hyman.  Phyllis may have lived a somewhat tragic life but she had an immense talent that spanned the worlds of music, theatre, film and fashion.  Just think; if I had ignored that bloke on Brixton Road in the early hours of 28th July 2018 and walked straight past him up the hill, I would have never discovered her music.

Phyllis Hyman; some starting points

‘You Know How To Love Me’ (1979)

A disco-era classic and Hyman’s most-instantly recognisable song.  Although Phyllis was “never a huge seller”, this has now had nearly 4 million streams on Spotify alone and has been covered in later years by Robin S and Lisa Stansfield.  The original featured backing vocals from one Gwen Guthrie who would go on to have a Top 5 hit single in the UK with ‘Ain’t Nothin’ Goin’ On but the Rent’ in 1986.

‘Don’t Wanna Change The World’ (1991)

A comeback single of sorts, ‘Don’t Wanna Change The World’ was Phyllis’ biggest-selling single.  A prime slice of smooth, early 1990s R&B, this spent a week at Number One in the US R&B chart in 1991.

‘Old Friend’ (1986)

Written by the late Linda Creed and produced by Thom Bell, this was one of Phyllis’ favourite songs, despite finding it a very emotional number to sing.  The recording was one of her first for her new record label, Gamble & Huff’s Philadelphia International.

‘Living All Alone’ (1986)

Taken from the album of the same name, ‘Living All Alone’ is a deeply-affecting ballad and became one of Hyman’s best-known songs.  Although not written by Hyman herself, the lyrics rang true for some elements of her own life.  

‘Suddenly’ (with The Whispers – 1984)

Taken from The Whispers’ 1984 album So Good.  This is the only recording of Hyman and The Whispers together – the group she was set to perform at the Apollo Theater with on the evening of her death. 

The Joys of Medu Vada

It was whilst stood on the platform at Madgaon train station in South Goa waiting for an early morning train to Hospet, a city near the ancient civilisation of Hampi that it suddenly dawned on me.  Medu Vada, the delicious, donut-shaped South Indian savoury snack is the perfect breakfast.  Tasty, nutritious and conveniently served in a disposable tiny foil dish; these vadas set me up nicely for the eight-hour train journey I had ahead of me – most of which I spent sharing a bench with a rather rotund Indian gentleman.

Made primarily from black lentils and spices, these fritters were served from a stand on the platform on top of a hot sambar (a lentil-based vegetable stew) and all for the princely sum of 30 rupees (about 30 pence).  I had been introduced to the joys of medu vada a few weeks earlier in the Poornima café in Mumbai’s Fort district, courtesy of my friends at India Someday.  As we tasted numerous other Indian street food delights, it was explained to me that vadas are usually eaten for breakfast or for brunch and originated in the Southern states of India (most likely Karnataka, according to the writer and broadcaster Vir Sanghvi) and in Tamil cuisine.  Idli, were another breakfast staple I sampled, particularly during my time in Kerala – rice cakes steamed in a fermented lentil batter and again, served with a spicy sambar. 

Before leaving India just over a year ago, I spent several hours traipsing around the streets near Park Street (coincidentally also where my Dad and grandma once lived) in Kolkata and the city’s New Market, retrieving various gifts for family.  I couldn’t resist picking up a bag of Urad Dal Flour or black gram lentil flour – the main ingredient needed to make medu vada.  

What better time to attempt to recreate the vadas than in my parents’ house during a rather unusual lockdown Christmas one year later in the UK? 

The streets around Park Street and New Market, Kolkata. December 2019.

Medu Vada with a spicy Tiffin Sambar

3-4 servings 

What you need

For the vada

  • 500g black gram lentil flour (mine already contained the spices needed to make medu vada – you can find the same one here
  • Oil for frying

For the sambar

  • 1 x red onion, finely chopped
  • 4 x tomatoes, chopped and the skins left on
  • 1 x 500g canned tomatoes
  • 1 x 500g canned chickpeas, drained (I used these rather than lentils on this occasion)
  • 1 x 500g canned whole broad beans, drained (optional – I added these as they were in the cupboard!)
  • 500ml vegetable stock
  • 4 x garlic cloves, crushed
  • 4 x dried red chillis, chopped (I used dried peperone crusco but you could also use fresh chillis)
  • 2 x tablespoons dried coconut flakes
  • 2 x teaspoons chilli powder
  • 2 x teaspoons ground turmeric 
  • 2 x teaspoons mustard powder
  • 2 x teaspoon fennel seeds
  • 1 x teaspoon coriander seeds
  • 1 x teaspoon cumin
  • 1 x teaspoon dried red chilli flakes
  • ½ teaspoon ground ginger
  • Sea salt and black pepper, to taste
  • A small knob of butter

Steps 

Tiffin sambar

1.)  Add all of the spices to a pestle and mortar and grind to release the flavour. Set aside.

2.)  Heat a small amount of butter in a saucepan over a medium heat.  Once it’s melted, add the chopped onions and crushed garlic.  Cook for 3-4 minutes until soft.

3.)  Add the dried coconut and ground spices to the pan.  Heat for a few minutes until the mixture forms a paste and becomes fragrant.  Stir frequently.

4.)  Add the chickpeas and the chopped chillis.  Cook for a few further minutes, continuing to stir.

5.)  Add both the canned and fresh tomatoes to the pan, stirring to combine with the spice mixture.

6.)  Add the vegetable stock and bring to the boil.  Once it’s boiled, turn to a low heat and simmer for one hour.  

7.)  As the stew gently simmers, stir occasionally and gently mash the chickpeas using a potato masher or the back of a wooden spoon.  Add more water to the pan, if needed.

8.)  Add the broad beans to the pan 20 minutes before serving.  Season the stew with sea salt and cracked black pepper, to taste. 

Medu vada

1.)  Add the black gram lentil flour mixture to a large bowl.  

2.)  Slowly add water, stirring each time until the mixture forms a thick batter.  It shouldn’t be too runny, otherwise it will be difficult to form the shape of the vadas.

3.)  Wet both of your hands, take about a tablespoon of the mixture and roll between your hands.  Eventually form a flattened disc with a diameter of about 6cm.  

4.)  Make a hole in each circle with two fingers to form a donut shape.  Place each vada onto a sheet of greaseproof paper or a plastic sheet (in Southern India, banana leaves would be the surface of choice but funnily enough these are less readily available in Europe).

The vadas just before frying.

5.)  Once all of the vadas are ready, heat about 100 ml of oil in a wok, large frying pan or saucepan on a medium heat (it shouldn’t be too hot).

6.)  Fry the vadas in the hot oil for a couple of minutes until each side is golden brown and then turn over.  The vadas should cook from the inside out, so that they are soft but not raw in the middle, yet crispy on the outside.

7.)  Set aside to cool slightly before serving.

Serving suggestion

You can serve the sambar in a bowl with the vadas on a side plate to dip into it, or alternatively you can simply serve the vadas on top of the sambar.  In India this would typically be eaten with a coconut chutney but lime pickle or mango chutney would also go well.  A side salad or even yoghurt dip could also be served alongside this.  The sambar will keep very well in the fridge for 2-3 days.

David Bowie; Our Brixton Boy

Five years ago today it was 10th January 2016.  It was a Monday and I woke up groggily at 6.50am to get ready for work.  The first sign that this was to be no ordinary Monday was upon checking Twitter.  I spotted that my friend Faye (also, the former singer in my old band) had tweeted a link to the David Bowie song ‘Kooks’.  After subsequently checking BBC News and switching on the radio, it became quickly apparent that Bowie had passed away – just two days after his 69th birthday and also, the date of the secretive release of his Blackstar album.

The Ritzy Cinema, Windrush Square, Brixton. 10th January 2016.

Now, far more erudite and esteemed music writers than myself have enthusiastically eulogised about Bowie, his work and his enduring influence.  I am not about to do the same.  Indeed, as we commemorate the fifth anniversary of his death, there are countless documentaries and radio specials airing and social media is already buzzing with all things Bowie.  However, put simply, Bowie was and still is a cultural icon.  A musical and stylistic chameleon who seemingly had numerous careers and personas rolled into just the one life.  He was a shapeshifter with his sound initially embracing ‘60s beat-pop and glam rock, then leaning towards minimal post-punk, art rock, soulful Americana and disco, whilst in the later stages of his career, exploring the more obscure genres he loved such as drum and bass, industrial metal and experimental jazz.

However, rather than writing about Bowie’s music, I’d rather recall that highly unusual and symbolic day in January 2016.  At the time, I happened to be living at 176 Stockwell Road, a stone’s throw away from Brixton Academy and the Brixton Bowls skatepark.  More notably, it was around the corner from 40 Stansfield Road where Bowie had been born on 8th January 1947.  I had already seen several TV crews turning into the road from my kitchen window that morning and when I walked past on my way to work at 8.15am there was already a pile of flowers outside the house, as well as several reporters and grieving fans.  

Reporters and fans beginning to gather outside 40 Stansfield Road on 10th January 2016. 8.15am.

Bowie had lived at the house for the first six years of his life and attended Stockwell Primary School (coincidentally, also my nearest polling station on voting day).  Although the family moved to Bickley in Bromley when Bowie was six years old, he had apparently always had a soft spot for Brixton and even made a covert return visit to 40 Stansfield Road during the final years of his life.  I would have had quite the shock if I had bumped into him on an afternoon jog. 

I was working for a music PR agency based near St. James’s Park – one whose biggest client was arguably the only living musical artist whose profile and reputation could rival Bowie’s.  I had only been listening to David’s Nile Rodgers-produced Let’s Dance album at my desk the Friday before his death and I was now catching drift of a huge street party being hastily arranged in Brixton for that very evening.

A night out on a Monday evening is never ideal but this felt like something we simply had to be a part of.  A few WhatsApps later and I had arranged to meet my friends Mark, Vicki (the current singer in my group) and Scott that evening for the Bowie Party.  

By 7pm Brixton was absolutely teeming.  It’s always a lively part of South London but Bowie’s fans were out in force in their thousands.  The 2013 mural of Bowie during his Aladdin Insane period on the wall of the Morley’s department store by the Australian artist James Cochran had become a great shrine with pile upon pile of flowers, candles and letters.  The Ritzy cinema had changed its listings board to read ‘David Bowie; Our Brixton Boy RIP’ and Windrush Square in front of it was packed with fans of all ages, shapes and sizes.  We grabbed drinks from the off-licence next to McDonald’s on Brixton Road and joined the assembled throng with ‘Suffragette City’ blaring from a makeshift soundsystem placed in the middle of the square.  

The ‘Bowie mural’, Brixton Road. The mural now has protected status and a plastic cover.

The atmosphere in Windrush Square that evening could only be described as carnival-like.  There was a sense of disbelief that Bowie was dead so soon after the release of Blackstar and with no media reports circulating about his illness.  However, despite Bowie not being that old when he died, this was a pure celebration of his life.  His music continued to pump out of the outdoor speakers and the crowd steadily grew with some estimates putting the number of attendees to 10,000.  Press photographers scurried around, frantically capturing images for the next day’s papers. 

The surreal scenes in Brixton on the evening of 10th January 2016.

With the crowd continuing to swell, we decamped to the Prince of Wales pub on Coldharbour Lane where the DJ was spinning, you-guessed-it, Bowie songs all evening.  The party atmosphere continued long into the night with strangers mingling and sharing their favourite Bowie memories; as one reveller put it; “it’s what he would have wanted.”

After deciding to call it a night, we headed home via Bowie’s former house at 40 Stansfield Road, SW9.  Despite it being past 1am, the place was still a hive of activity, although the mood was more sombre than in Windrush Square.  Several dedicated fans had lit candles, taped handwritten notes to the house’s wall and were holding an all-night vigil in honour of their idol.  We stopped for a few minutes to talk to them and I was struck by how calm and dignified they seemed.  They simply felt it was their duty to be here on this sad, yet historic day.

40 Stansfield Road, Brixton in the early hours of 11th January 2016.

I said goodbye to my friends and finally got back to my flat around 1.30am.  I put on my favourite Bowie album Low and finished the evening lying on my back between the two speakers with my eyes closed listening to the glacial, icy synths of ‘Warszawa’ and ‘Art Decade’, processing the events of the day.

Here’s to us all being a bit more like Bowie in 2021. 

The year I rediscovered reading

My Year in Books.

There’s no denying that 2020 was a challenging year for pretty much everyone around the world.  

Humans are inherently social beings and it goes against our instincts to refrain from seeing friends and family and not to attend communal gatherings such as gigs, festivals, parties, sporting events or even to make trips to the cinema, theatre or place of worship.  As the Mexican writer and cultural commentator Octavio Paz wrote in The Labyrinth of Solitude“(we) are nothing but nostalgia and a search for communion”. 

However, at the start of the first lockdown in Italy, I read Kitty O’Meara’s poem ‘And The People Stayed Home’ and took some solace and inspiration from her words about using this period of confinement as a time for reflection and self-improvement.  Whilst it was far from ideal to move to a foreign country and barely two months in, to be forced to stay at home, whilst working full-time from a laptop on my kitchen table, I figured it was best to make the most of the situation and try and use this time as productively as possible.  

Kitty O’Meara; ‘And The People Stayed Home’.

I had read prodigiously as a child up to the age of about 15.  When I was younger I devoured otherworldly fiction such as Terry Pratchett and early Anthony Horowitz (I still consider Groosham Grange to be a criminally-underrated classic) and then became obsessed with music writing and more niche biographies as I got older.  However, during my early adult life and sadly for most of my 20s, I found myself making less and less time to read and would often painfully work my way through just two or three books a year.  Reading was an activity reserved for holidays or just before I fell asleep late at night.  Hardly the right time to absorb new literature that may well have been that writer’s life’s work. 

During what was an abysmal year for many people, I count myself very lucky that in 2020 I didn’t lose anyone during the pandemic or find myself out of work, like countless others.  One of the major positives for me was that I rediscovered the joys of reading again.  Reading for entertainment, reading for inspiration, reading for therapy, reading for knowledge.  

I read 27 books in 2020, certainly an improvement on previous years in London.  Part of this is certainly a result of the large periods of solitary confinement created by the pandemic but there were also less distractions in the past year; my flat in Bari has no TV, I only have one acoustic guitar with me (no electrics or modulation pedals to spend my time mucking about with!) and the number of work-related emails I receive out-of-hours has gone down dramatically. During the warmer months, I also carved out a dedicated reading haven; the small balcony off my living room, overlooking the bustling Madonnella street below.  I picked up a folding chair for €10 and some cheap plants from the Chinese shop around the corner and transformed it into my reading spot.  The typical Sunday during the spring would see me spending most of the afternoon out there reading, sipping coffee and green tea (or the odd Peroni in the evening) and most likely, listening to BBC 6 Music

The full 2020 reading list is included at the end of this post but here are five of my most notable highlights – hopefully there’s a little something for everybody there.

Honey from a Weed; Fasting and Feasting in Tuscany, Catalonia, the Cyclades and Apulia – Patience Gray

Patience Gray was a cookery writer, originally from a high society background in London who relocated to the Mediterranean in the mid-20th century with her partner, the Belgian sculptor Norman Mommens.  Following “a vein of marble” around the Med, they lived in Tuscany, Catalonia and Naxos before finally settling in a neglected sheep farm Spigolizzi, near Salve and Presicce in the Salento region of Puglia in the 1970s.  Here they lived a self-sufficient lifestyle, learning cultivation techniques from their peasant neighbours and growing their own fruit and vegetables, as well as making wine and olive oil.  Honey from a Weed is a beautifully-written book; part-memoir and part cookbook.  Gray’s wicked sense of humour comes through in her writing too and it’s clear that her and Norman consider their Italian neighbours their tutors.  Many cooks today hold Honey from A Weed (along with some of Elizabeth David’s writing) responsible for introducing Mediterranean cooking into the British consciousness.

Patience Gray and Norman Mommens outside their home Spigolizzi in the Salento, Puglia.

Wicked Speed – Annie Nightingale

Annie Nightingale is the UK’s first-ever female radio DJ, rising to fame in the 1960s on Radio 1.  However, Annie has never rested on her laurels and has always made it her mission to be at the cutting edge of the latest new music.  From being pals with The Beatles and The Rolling Stones in the ‘60s, a torchbearer for the ‘70s punk scene to a champion of the late ‘80s / early ‘90s acid house movement, Annie is one of a kind.  Bugged in Moscow, drugged in Iraq and almost fatally mugged in Havana, I was also fascinated to read how she spearheaded the first tour of Western artists to the newly-free Romania in 1989. My friend Scott and I’s own trip to Bucharest was tentatively planned for last September as a result but plans unfortunately shelved due to new Covid-related travel restrictions. Now aged 80, Nightingale is still going strong on Radio 1 and is still a regular club DJ.

Wicked Speed – Annie Nightingale.

Taj Mahal Foxtrot; The Story of Bombay’s Jazz Age – Naresh Fernandes

I was recommended Taj Mahal Foxtrot by my relative Tarun as an insight into Mumbai’s glamorous music scene of years gone by and how the inter-war and post-war jazz years shaped the hugely popular ‘bollypop’ scene of today.  Its author Naresh Fernandes was kind enough to give me a few minutes of his time on the phone when I visited Mumbai in 2019 and his book is meticulously-researched, brimming with detail and brought to life with interviews and anecdotes from people who were part of the booming Bombay ‘hot’ jazz scene of the time.  Makes me want to visit Mumbai again right away.  For any Londoners reading this, Naresh’s book was the main source of inspiration behind the decor and ambience of Dishoom’s Kensington restaurant.

Taj Mahal Foxtrot – Naresh Fernandes

Swimming Studies – Leanne Shapton

Swimming Studies author Leanne Shapton is now a successful writer and graphic novelist, however during her teenage years she was a champion swimmer who was in training for Olympic trials.  This book tells the story of her life so far, set against a backdrop of the rigours of competitive swimming training.  A soulful and meditative read; I was particularly tickled by Leanne’s sketches of various swimming pools around the world, from Olympic-sized pools to bougie hotels’ plunge baths, including several London leisure centres I have used myself – hilariously, Fitness First’s Baker Street branch makes an appearance here. 

One of the unique and beautifully-illustrated pages from Leanne Shapton’s Swimming Studies.

Sous Chef; 24 hours on the Line – Michael Gibney

I picked up this book in 2015 on a visit to LA but to my shame only got around to reading it in 2020.  Sous Chef is a thrilling and visceral insight into the high-pressure, hard-living world of the professional cook.  The protagonist endures late night post-work drinking sessions combined with early mornings starts and the book does a great job of detailing the rigorous demands of the profession, as well as the impeccable standards high-quality restaurants consistently require from their staff.  A real page-turner.  

24 hours in the life of a professional cook; Michale Gibney’s Sous Chef.

2020; My Year in Books 

‘A Book of Mediterranean Food’ – Elizabeth David

‘Access One Step; The Official History of The Joiners Arms’ – Oliver Gray

‘Christ Stopped at Eboli’ – Carlo Levi

‘Finding myself in Puglia’ – Laine B Brown

‘Honey from a Weed; Fasting and Feasting in Tuscany, Catalonia, the Cyclades and Apulia’ – Patience Gray

‘How Much Land Does a Man Need?’ – Leo Tolstoy

‘Liberation through Hearing’ – Richard Russell

‘Loco-motion; 40 years of live music at The Railway Inn’ – Oliver Gray

‘Meditation; the first and last freedom’ – Osho

‘Pic’ – Jack Kerouac

‘Riffs & Meaning; The Manic Street Preachers and Know Your Enemy’ – Stephen Lee Naish

‘Sous Chef; 24 hours on the Line’ – Michael Gibney

‘Starting a Business for Dummies’ – Colin Barrow

‘Swimming Studies’ – Leanne Shapton

‘Taj Mahal Foxtrot; The Story of Bombay’s Jazz Age’ – Naresh Fernandes

‘The Centaur’s Kitchen’ – Patience Gray

‘The Daily Stoic’ – Ryan Holiday and Stephen Hanselman

‘The Gamechangers; Transforming India’ – Vir Sanghvi

‘The God of Small Things’ – Arundhati Roy

‘The Labyrinth of Solitude’ – Octavio Paz

‘The New Me’ – Halle Butler

‘The Other Mexico’ – Octavio Paz

‘The Pillars of Hercules’ – Paul Theroux

‘The Subterraneans’ – Jack Kerouac

‘The Year Of The Monkey’ – Patti Smith

‘Waging Heavy Peace; A Hippie Dream’ – Neil Young

‘What Good Are The Arts?’ – John Carey 

‘Wicked Speed’ – Annie Nightingale

My well-used copy of Neil Young’s Waging Heavy Peace.

Bari; the resting place of ‘Father Christmas’

Saint Nicholas or San Nicola reigns supreme in Bari.  He’s everywhere.  Countless buildings in the city are named in his honour (for example, the Stadio San Nicola, home of SSC Bari) and it’s not uncommon to see ornate pictures and murals of him adorning houses, bars, cafes and restaurants in the city.  This is all down to his relics essentially being stolen from a tomb in a church in the ancient Greek town of Myria by Italian sailors following the Battle of Manzikert in 1071.  The sailors brought the relics back to Bari and two years later, the Basilica di San Nicola was inaugurated by Pope Urban II to house Saint Nicholas’ remains.  It is said that the Pope personally placed the bones into the tomb underneath the church’s altar himself. 

The Procession of Saint Nicholas, Bari.

Also, known as Nicholas of Bari and Nicholas The Wonderworker, he lived during the age of the Roman Empire and was a Christian bishop of Greek descent who spent most of his life living in the ancient town of Myra on the Anatolia peninsula, now part of Turkey.   He gave all of the inheritance he received from his late parents to charity and was renowned for his spontaneous and secretive gift-giving and later became the inspiration for Santa Claus / Father Christmas.

Although many of the events in Saint Nicholas’ life are historically disputed, he seemed like a pretty sound bloke.  He brought three young children back to life after they were killed by a maniacal butcher, with the intention of turning them into ham.  He saved three poor sisters from a life of prostitution after dropping gold coins to them through the windows of their home.  He appeared as a visitation in front of an executioner, threw his sword to the ground and saved three innocent men from their deaths after they had been condemned by the governor Eustathius.  How a Greek-born philanthropist from 270 AD who spent much of his life living in Turkey morphed into an obese, white-haired, problem-drinking old man known as Santa Claus is unclear but it may have had something to do with the Dutch tradition of celebrating Sinterklaas.

It’s safe to say that Christmas in Bari, given its association with Saint Nicholas is usually a pretty big deal.  Some of my students and Italian friends have told me about big street parties that take place on the 24th and 25th December and it sounds that in pre-Covid times, Christmas week is one big celebration of feasts, dotted with various religious ceremonies.  It is said that Saint Nicholas’ relics continue to produce the miraculous liquid manna to this day.  On his saint’s feast day on 6th December, a flask is used to collect the liquid from his sarcophagus and some is even available to purchase in shops near to the basilica.

Clockwise from left; Christmas lights on Via Sparano, Bari. Bari Lungomare. Basilica di San Nicola on 6th December. Festive panettone.

Another Italian festive legend is that of Befana, a hideous, yet kindly witch who visits children on Epiphany Eve (5th January) and depending on their behaviour over the previous year, gifts them with either presents of candy or lumps of coal.  It is reported that Befana is also a fastidious housekeeper and that she will sweep the floor of the house upon leaving, brushing away the problems of the previous year.  Whilst Father Christmas’ existence is widely-debated, I have seen several possible contenders in Bari for Befana.

I was lucky enough to be able to make it back to the UK for Christmas this year, narrowly avoiding the flare-up resulting from the new super-contagious strain of Covid being identified in London and the South-East in mid-December.  I may have gone a little overboard in packing as much cured meat, cheese, spreads, pistachio nuts and panettone for family into my check-in luggage as possible.  My excuse is that I was following the bountiful example set by Saint Nicholas.  Detox and intermittent fasting begins in January.  

The Christmas bounty from Italy.

I have made an alternative Christmas Spotify playlist for the festive season featuring the likes of James Brown, Calexico and LCD Soundsystem.  Check it out here – enjoy!

The Psychedelic Singing Cowboy; the Enduring Legacy of Arthur Lee & Love

The name of this blog is inspired by the final track, ‘You Set The Scene’ on Arthur Lee & Love’s revered Forever Changes album.  I thought it was only right to pen a few words about one of the most underrated groups of the past 50 years and a legacy that still continues today. 

Imagine a world without the radical, otherworldly Stratocaster histrionics of Jimi Hendrix, Jim Morrison and The Doors’ mysterious beat poetry-set-to-music or Sly Stone’s dandified funk?  Or to bring things more up-to-date, none of the genre-defying musical chameleonry of OutKast and Anderson .Paak, or one of Mac Miller’s most recognisable songs?  Without the influence of Arthur Lee and his band Love, this might be the world we find ourselves living in today.

Love, for a short period in the mid-1960s were top dog in LA.  Not only were they the coolest band in Southern California (The Beach Boys were still pre-Pet Sounds at this point and considered a little passé, whilst The Byrds were less edgy) but they were also ground-breaking in the fact that they were America’s first racially-mixed psychedelic rock group.  

The early line-up of Love. Left-to-right; Johnny Echols, Arthur Lee, Bryan MacLean, Kenny Forsi, Michael Stuart.

The group’s leader and singer Arthur Lee was born in Memphis in 1945 and moved to Los Angeles as a child, following his parents’ divorce.  Ironically, lead guitarist Johnny Echols’ (and Love’s only surviving original member) childhood followed a similar pattern with his parents also leaving Memphis for LA in the ‘50s, and the pair’s grandparents even being friends back in Tennessee.  Lee and Echols attended the same school, The Susan Miller Dorsey High School in the Crenshaw district of the city and the nascent seeds of the group Love were sown.  

By early 1965, the first incarnation of Love (Lee and Echols adding former Byrds acolyte Bryan MacLean to the line-up, as well as bassist Kenny Forsi and drummer Don Conka – later replaced by Alban ‘Snoopy’ Pfisterer) were a regular on the West Hollywood circuit, playing hippie haunts such as Bido Lito’s, The Brave New World and The Whisky a Go Go.  Jac Holzman, the founder of Elektra Records visited LA around this time, keen to find a new act after missing out on signing The Lovin’ Spoonful (best-known for their ‘66 hit ‘Summer in the City’).  After Holzman caught the band live at Bido Lito’s, Love soon landed a long-term recording contract with Elektra.  Ever-astute, belying his tender age, Lee insisted on retaining the rights to his songs, rather than handing them over to the label – providing him with a valuable additional income stream for the rest of his life.

Originally a talented basketball player, Lee was a marvellous mass of contradictions.  He was known as a street-smart hustler and for not shying away from confrontation, but he also was blessed with an angelic voice, wrote deep, poetic and existential lyrics (“He should be the Poet Laureate for this country”, suggested his bandmate Echols) and had an affectionate love of animals (he was known to own several dogs at any one time).  His signature look in the mid-60s was tasselled leather jackets, silk scarves and hippy beads – teamed with triangular shades and cowboy boots. He enthusiastically bent Holzman and Elektra’s ear about taking a chance on signing one of their contemporaries from the underground LA scene, a then-unknown group called The Doors, essentially kick-starting their career.

In the years prior to Love taking off, Arthur tried his hand at being a songwriter and wrote the simple yet soulful pop tune’ ‘My Diary’ for an emerging singer from Louisiana, Rosa Lee Brooks.  He enlisted the help of a young guitarist for the recording session; a certain Jimi Hendrix.  ‘My Diary’ is one of the first-ever recordings to feature Hendrix, if not the very first.  Whilst the two were on friendly terms and Hendrix would play guitar on the 1970 Love track, ‘The Everlasting First’, Lee would criticise Hendrix for stealing his style and Jimi would even record and release ‘Hey Joe’ as a single, just one year after Love recorded their own version of the song for their debut album. 

The original line-up of Love released three landmark albums between 1965 and 1968; each one sonically very different.  1966’s eponymous debut Love was propelled by the success of the lead single, the band’s cover of Burt Bacharach and Hal David’s ‘My Little Red Book’.  The original, recorded by Manfred Mann for the film ‘What’s New Pussycat?’ was given a complete makeover and transformed into an urgent-sounding two-minute garage rock stomp – and one that does not sound of place on radio today.  The rest of the album followed a similarly garagey vein with standout tracks such as ‘My Flash On You’, as well as more tender moments like ‘A Message to Pretty’ and the haunting ‘Signed DC’, an ode to former drummer Don Conka’s debilitating heroin problem that saw him depart the group. 

1966’s Da Capo was an altogether more optimistic affair, with the line-up now expanded to include flautist, saxophonist and percussionist Tjay Cantrelli and new drummer Michael Stuart, with ‘Snoopy’ Pfisterer moving to organ and harpsichord duties.  On one hand, the group explored breezier Latino sounds on ‘Que Vida!’ and ‘Orange Skies’ but there was also the pioneering and abrasive ‘7 and 7 Is’ – widely cited as one of the first proto-punk songs and ending in a cacophony of sound – mimicking a nuclear explosion. 

It was around this period that the band also started living communally in a Spanish Colonial Revival-style villa in the Los Feliz district of LA dubbed ‘The Castle’.  The once-grand mansion (allegedly lived in by Errol Flynn in the 1930s) was in a considerable state of disrepair by 1966 and became one of the key hangouts for the Californian counterculture scene.  Janis Joplin, Hendrix and members of The Mamas and The Papas, Jefferson Airplane and The Doors were all regular visitors to The Castle and although the band only lived there for just over a year it became synonymous with their identity.  “Night after night, day after day, it was just one big party, with no maid!”, reminisced Lee many years later.

I made my long-suffering friend Anna track down ‘The Castle’ with me in August 2015. Los Feliz, Los Angeles.

As the 1960s progressed, the mood in LA and America gradually shifted from one of positivity and optimism to gloom and foreboding.  The drugs of choice were no longer weed and acid but heroin and crack cocaine.  This change in atmosphere coincided with a number of significant events including the ongoing war in Vietnam (Lee and Echols had both faked mental illness in order to avoid conscription), which resulted in the deaths of almost 60,000 Americans and eventually on home soil in 1969, the killings committed by Charles Manson’s warped cult in Los Angeles and the murder of the black teenager Meredith Hunter at The Rolling Stones’ Altamont Free Concert.  For many, these events marked the end of the hippie era and the Flower Power movement.

Love’s iconic third album Forever Changes was in many ways the perfect record to accompany these ominous and uneasy times.  Although Arthur Lee was just 21 at the time of writing, several of his friends had succumbed to their vices and he became convinced that he would be next to die prematurely.  More of a punk than a hippie at heart, he retreated to a hilltop house in Laurel Canyon and began writing Forever Changes as his swansong to the world, with his lyrics addressing the precarious state of affairs in his country at that time and his own mortality, despite his young age.  In ‘A House Is Not A Motel’, he references the Vietnamese conflict by recalling the story a returning war veteran told him about how the “blood mixed with mud” to turn the soil “grey”.  In the eerie ‘The Red Telephone’, he unnervingly sings about “sitting on a hillside, watching all the people die / I’ll feel much better on the other side” and appears to predict his own future incarceration; “they’re locking them up today and throwing away the key / I wonder who it will be tomorrow, you or me?”.

It isn’t all darkness on Forever Changes though.  Musically, the record is a joy; layered acoustic guitars complemented by subtle electric overdubs, lush orchestral strings, mariachi horns and flamenco flourishes.  On ‘Between Clark and Hilldale’, Lee namechecks the exact Sunset Strip location of the hallowed Whisky a Go Go club and ‘Alone Again Or’, written and sung by guitarist Bryan MacLean is a genuine ray of light and a bona fide classic. 

Sadly, the release of Forever Changes in 1967 coincided with the group’s descent into heavy drug abuse.  In fact, on two of the album’s tracks ‘andmoreagain’ and ‘The Daily Planet’, LA’s supreme collective of session players The Wrecking Crew were called in as the members of Love were not deemed “with it enough” to take part in the recording session.  Arthur Lee became increasingly withdrawn and eccentric and the album was never properly toured, despite positive reviews from critics.  The success of bands like The Doors soon far outgrew their old peers and the original line-up of Love disbanded with most of its members spiralling into drug addiction.

Arthur kept Love going by recruiting a new band and 1969’s Four Sail actually has some great moments, namely ‘August’‘The Singing Cowboy’‘Good Times’ and ‘I’m With You’, however during the later years of the 1970s and 1980s his output became more sporadic and he fell into obscurity, becoming something of an enigmatic recluse.  

In 1996 Lee was imprisoned for 12 years at Pleasant Valley State Prison under California’s notoriously harsh three strikes rule following an incident outside his LA apartment and the alleged negligent discharge of a handgun (he already had previous convictions for arson, drug and driving offences and assault).  Lee refused all visitors and interviews during his time in prison and instead found God.  “He visited me and said ‘Love on Earth must be’”, claimed Lee in an interview for the 2006 documentary film Love Story.  He served half of his sentence and emerged with a renewed calling to share his music with the world.

Prior to his conviction, Arthur had been introduced to the neo-psychedelic LA band Baby Lemonade (former Love bandmates Bryan MacLean and Kenny Forsi had both died during his time in prison) and he began playing live with them in 1993.  The band were huge fans of Love’s music, as well as gifted musicians in their own right.  Upon Arthur’s release from jail in 2001, plans were quickly made for a Love reunion with Baby Lemonade as his backing band. The new-look Love’s comeback show was at Spaceland (now called The Satellite) in Silver Lake, Los Angeles in April 2002 and over the next few years Arthur made amends for his reluctance to tour in the ‘60s by gigging incessantly.  Two arguable highlights of the reunion tour were dates at London’s Royal Festival Hall and at Glastonbury 2003.

I was lucky enough to see the reformed Arthur Lee & Love twice in 2004 and 2005 – both at the same venue, The Brook in Southampton, UK (in ’05 he was also joined by Johnny Echols).  On the first occasion my friend Charlie and I met Arthur.  He was both warm and intimidating in equal measure; agreeing to sign the printed setlist I had commandeered from the stage after the gig but dismissing my sycophantic teenage claims that he was a “legend.”  He also demanded that I spelled my name to him, yet still wrote it as ‘Clyde’.  To this day and despite the typo, that signed setlist sits in a frame and is still one of my prized (and irreplaceable) possessions.

Arthur died in August 2006 after a leukemia diagnosis and exactly a month to the day after another pioneer of the psychedelic era, Syd Barrett.  Tributes flooded in from across the music world and in death, Arthur Lee achieved the widespread success that originally evaded him in the 1960s.  Indeed; more than 40 years after it was originally recorded, the late Pittsburgh rapper Mac Miller recorded a cover of Lee’s ‘Everybody’s Gotta Live’ – a track that was included on his posthumous album Circles, introducing his music to an entirely new generation. 

Baby Lemonade still tour with Johnny Echols and their show at Islington Assembly Hall in July 2019 was one of the best gigs I’ve been to in a long time. They even played obscure ‘B’ sides such as the weird, yet equally brilliant ‘Laughing Stock’.

Baby Lemonade and Johnny Echols. Islington Assembly Hall, July 2019.

I will leave you with a clip of Love’s performance on The Other Stage at Glastonbury 2003 in the coveted ‘sunset’ slot, as early evening merges into night. Whilst I have been extremely fortunate to see Arthur and his band play live and to have been a regular at Worthy Farm over the past decade, this is still the one show I wish I was there for.

“For anyone who thinks that life is just a game, do you like the part you’re playing?

Tarantella and Techno; a Year of Live Music in Lockdown Italy

In my last post, I talked about the crisis that many venues across the world are currently facing as a result of the ongoing Coronavirus pandemic.


Italy was the first European country to be stricken by the virus and a strictly-enforced lockdown was introduced on 9th March that lasted for over three months (a government form was required to leave home and even outdoor exercise was banned at one stage).  Either side of this and the current restrictions we find ourselves experiencing, I have been extremely lucky to still see my fair share of live music in Italia

Gigs have been a very different proposition since the pandemic but hats off to the many venues, promoters and artists who have been trying their best to creatively stage fresh and interesting shows, in far from ideal circumstances. 

Below is a rundown of some of the weird and wonderful gigs I’ve experienced over this past year, plus links to how you can find out more about the artists and venues in question. 

Edda – Officina Degli Esordi, Bari – 18th January

My first gig after moving to Bari. Formerly the frontman of Milan’s Ritmo Tribale, Edda is the reformed bad boy of Italian post-punk.  Having overcome a serious drug addiction, Edda now makes emotive electro-tinged power pop, typified by ‘E Se’ and ‘Signora’.  From what I could gather in-between songs, he likes to tell a good story too. 

Listen to: Edda – ‘E Se’

Dardust – TPO, Bologna – 22nd February

Let’s start with the positives.  TPO is a fantastic venue in the North West of Bologna – a converted industrial building that’s now a cracking multi-purpose arts space.  Props to the venue for having reusable beer cups too. Now imagine an Italian Calvin Harris with a pencil moustache and you’re halfway there with our friend Dardust.  An Italian producer from the Marche region, he’s clearly a talented chap and the crowd lapped up his live show.  However, at one stage he had a visual of marching demonic-looking bagpipers on the big screen behind him for an entire song.  Genuinely terrifying. 

Find out moreTPO (Teatro Polivalente Occupato), Bologna

Listen to: Dardust – ‘The Wolf’

Sunday night jazz jam – Binario69, Bologna – 23rd February 

Bologna was one of the favourite cities I visited in 2020.  I planned to stay for four days and ended up spending seven.  I loved its mixture of history, left-wing politics and vibrant student counterculture.  Binario69 is technically a members-only club for those in the know (I had to sign up and pay a small €10 joining fee – you receive a membership card in return).  Tucked away on a small street behind Bologna Centrale station, it’s a laid-back space where patrons sipped cocktails, played board games and listened to Sunday night afro-jazz performed by local musicians.  Prior to the Covid lockdown, Binario69 hosted live music most nights of the week and is now running a crowdfunding campaign in order to stay open.

Find out more: Binario69 crowdfunding campaign

Binario69, Bologna.

Francesco Manfredi Quintet – Palazzo Pesce, Mola di Bari –  20th June

The first gig post-lockdown #1 and held in the sumptuous former family home Palazzo Pesce in Mola di Bari.  After the stringent safety measures upon entry, the concert took place in the sunken garden outside the house with clarinettist Francesco Manfredi and his group paying homage to the songbook of New Orleans’ Sidney Bechet or to quote Manfredi; “the first clarinet player of hot jazz.”  The concert I attended was timed perfectly to coincide with the sunset that evening too.  Blissful.

Listen to: Francesco Manfredi and friends – ‘Si tu vois ma mère’

Elena Matteuci – Diocesan Auditorium Vallisa, Bari – 8th July 

Classical piano virtuoso Elena Matteuci and young violinist Sebastian Zegame paid homage to ‘La Tarantella’, an ancient form of Italian folk music that originated from the Taranto region of Puglia. The bite of the local Tarantula spider was said to make its victims hysterical – a condition known as Tarantism. It was thought that the victims’ only hope was to be revived through the power of music and dance – hence the creation of La Tarantella. There was also a fitting tribute to Ennio Morricone who passed away two days before the concert and an interpretation of ‘Cinema Paradiso’ as the encore. 

Listen to: Elena Matteuci – ‘Scherzo n.2 op. 14, Clara Wieck-Schumann’

Strebla – Extreme Music Academy, Bari – 18th July

Bari’s Extreme Music Academy didn’t have the easiest of starts to life as a new live music venue, opening its doors halfway through the relentlessly tough year which is 2020.  The venue is on the outskirts of the city on the edge of an industrial area by day and red light district by night.  Don’t let its location fool you though as this new venue is a gem – especially if you are partial to metal and punk.  It boasts a large 200-odd capacity live room with a decent soundsystem, an outside courtyard where people hang out between bands and a bar with cocktails named after various metal and rock icons.  “Uno Lemmy e uno Soulfly, per favore”.  I went to the opening night and Bari’s Strebla were the highlight – unusual post-punk / math-rock with staccato time signatures. 

Listen to: Strebla’s Instagram page

Find out more: Extreme Music Academy’s mission statement

Ellen Allien – Sound Department, Taranto – 8th August 

Taranto was another city that I unexpectedly took a liking to during the summer – two days soon became one week.  I was surprised to see that Berlin techno legend Ellen Allien was DJing at the Sound Department venue on the Saturday night of my stay.  Sound Department is located out of town near to the naval docks and is built predominantly from old shipping containers.  At 4am in the morning and without warning, the security staff suddenly winched the metal sides of the venue up towards the sky and then removed the roof to convert the club into an open-air arena as the sun came up.  A very cool concept.

Listen to: Ellen Allien – ‘True Romantics’

Ellen Allien, Sound Department, Taranto (camera phones were taped over by security but I snuck this one photo whilst I was waiting for my cab home).

Game of Sax – Parco Archeologico di Taranto – 10th August

La Notte di San Lorenzo is a night in August that’s famous in Italy supposedly as a chance to see shooting stars clearly in the night sky.  Taranto’s Parco Archeologico, a modest green space, famous for its ancient Greek remains hosted a midnight concert from local musicians Game of Sax to celebrate the occasion.  The locals loved their rendition of Domenico Modugno’s classic ‘Nel Biu Dipinto Di Blu’ and sang along to every word.  About as different to watching Ellen Allien two nights before as it gets. 

Find out more: Parco Archeologico Delle Mura Greche

The Comet Is Coming – Locus Festival, Locorotondo – 14th August 

Locus Festival is arguably Puglia’s most established major music festival.  Since its inception in 2005 it has welcomed a wealth of musical greats including the late Gil Scott-Heron, Lauryn Hill, David Byrne and Sly & Robbie. The 2020 event should have been headlined by Little Simz, Paul Weller and The Pixies but Covid unfortunately put paid to that.  However, a smaller, ‘limited edition’ version of the festival was still held in the grounds of Masseria Ferragnano, a fortified farmhouse on the edge of Locorotondo.  Social distancing, temperature checks and directional queueing systems were in operation in full force but it actually worked quite well and still felt like a ‘proper’ festival.  The only difference being that the audience had to remain seated on plastic chairs for the duration of the performance.

I’ve seen The Comet is Coming and the various other projects of their bandleader Shabaka Hutchings a number of times in the UK so had an idea of what to expect.  The boys even learned some rudimentary Italian for the occasion though!  

Listen to: The Comet Is Coming – ‘Summon The Fire’

Find out more: Locus Festival 2021 (excitingly, Devendra Banhart is the first name confirmed for 2021’s festival)

Domenico Tagliente – Chiesa di San Domenico, Mola di Bari – 20th August

One of the more unusual live performances I have experienced, Domenico Tagliente took over the huge organ at the Chiesa di San Domenico in Mola di Bari and re-interpreted Giorgio Moroder’s score of Fritz Lang’s ground-breaking 1927 silent film ‘Metropolis’ whilst the movie was projected onto a big screen inside the church.  Eerily atmospheric.

Find out more: Domenico Tagliente’s Instagram page

Fake Jam – SMIAF Extreme Sports Festival, San Marino – 4th September

I only stopped off in San Marino City for one night as I drove back to Bari from the UK (a stunningly beautiful place but if truth be told, a tourist haven) but I lucked out with the fact that Fake Jam were headlining the outdoor music stage of the SMIAF Extreme Sports Festival that very night.   Hailing from Bologna, they brought a lot of support with them and specialised in a brand of Parliament and Earth, Wind & Fire-inspired jazz funk.  Excellent and unexpected.

Listen to: Fake Jam’s YouTube channel

B. Fleischmann – Teatro Kismet, Bari – 17th October

B. Fleischmann is originally from Vienna but him and his band are now based in Berlin.  They make marvellously quirky, offbeat pop music with typically Berlin-esque techno inflections.  The show was part of the annual Time Zones Festival, a longstanding annual event in Bari and surrounding areas since 1986 that showcases alternative and non-commercial music – the festival’s motto is “on the paths of possible music”.  This was my first visit to the impressive and modern Teatro Kismet too but sadly the last show before the strict Covid measures were reintroduced in Puglia and all live music ordered to stop. 

Listen to: B. Fleischmann – ‘You’re The Spring’

Find out more: Time Zones Festival

As you can see it’s a somewhat eclectic bunch of highlights but I feel fortunate to have seen such a breadth of artists in what has been a very testing year for live music.  Another mention also goes to the two squat spaces Casa Occupata Via Garibaldi in Taranto and Ex Caserma Liberata in Bari; I went to a bizarre gig at the former where the performer was playing pots and pans with a drumstick, as well as a synth running through his laptop (it was actually pretty cool).  The latter is a cultural hub in Bari and seems to also be home of the city’s small but passionate dub and reggae scene.  I went to a dub party here in February and a lot of the faces there also came to the brilliantly-named Bari Hill Carnival soundsystem in September.  

It’s very interesting that so much of alternative culture in Southern Italy is associated with the squat scene (“una casa occupata”) – something that is a dying breed in London compared to its 1970s peak and famously its associations with the punk, new romantic and acid house movements.  What do Joe Strummer, Bob Geldof, Boy George, the Sex Pistols, Annie Lennox and Depeche Mode all have in common?  They all lived in squats early on in their careers. 

With promising news about the development of Coronavirus vaccines circulating, hopefully live music will be back in earnest in 2021. 

The Year of the Live Music Vacuum

For the past 20 years, live music has been a massive part of my life.  The date of my first-ever gig will be forever etched in my memory; 30th March 2001 and my favourite Welsh political provocateurs Manic Street Preachers at Brixton Academy, South London.  Many years later and I would be able to watch roadies loading bands’ equipment in and out of the very same venue from my flat’s kitchen window on the opposite side of Stockwell Road.  I have also now gone on to see the Manics some 22 times…  

Ever since that day in 2001, I’ve been hooked, whether it’s seeing an emerging artist play a dingy pub in Camden, a DJ at a warehouse party in Hackney Wick, an established band road-testing new material in a mid-sized 1930s art deco theatre or a huge act playing a headline festival or shiny arena show, with the lavish production to match.  Pre-Covid in London I would average a gig a week and tracking down the best places for music is often one of the first things I do when I arrive in a new city.

The Manics on another occasion, this time at Wembley Arena. May 2018.

From a personal perspective, I have played over 300 gigs as a musician, firstly as a member of The Immediate The Shake The Screenbeats and in more recent years as part of a low-key folk duo, inventively named Clive & Vicki.  Most of the venues we’ve played have been part of the well-trodden and affectionately-named ‘toilet circuit’; small capacity and mostly independently-owned venues that aren’t necessarily glamorous but are an essential part of the music ecosystem.  It’s become a clichéd saying but without these places there would be no future Glastonbury or Coachella headliners.  For a couple of years, I worked managing music partnerships for the Tennessee whiskey brand Jack Daniel’s and in particular running an initiative designed to champion these independent small venues.  To represent and deal with such treasured haunts as The Joiners in Southampton, The George Tavern in East London, The Zanzibar in Liverpool and Glasgow’s King Tut’s was a real honour.  It remains an unrealised ambition of mine, to one day open a small venue dedicated to emerging artists.

Clockwise (from top left); 1.) The Screenbeats, The Dublin Castle, Camden. August 2007. 2.) Supporting Milburn at The Charlotte, Leicester. July 2006. 3.) Clive & Vicki expanded to become ‘OCDC’ at the Heavenly Social, W1. March 2018. 4.) Clwb Ifor Bach, Cardiff. May 2007. 5.) The Colony Club, Newbury. December 2003.

2020 has clearly been devastating for the live music industry worldwide.  Not only have countless venues been forced to close their doors with their outgoings far outweighing their income but the impact of the pandemic has affected staff across the board from promoters and tour managers to security, lighting and sound technicians to bar staff and cloakroom attendants. In the UK, the team at the Music Venue Trust charity does a fantastic job of supporting these venues and you can find out what you can do to contribute during this difficult time at their Save Our Venues page.  There’s a great range of merch available to buy from venues across the country and the proceeds go directly to them. 

In Italy, like most of Europe, live shows were immediately halted in early March as the Coronavirus crisis started to quickly worsen.  However, unlike the UK, live music slowly started making a gradual reappearance in the early summer.  The first post-lockdown gig I went to was at the Palazzo Pesce in Mola di Bari in June.  Entry times for the audience were staggered, capacity reduced by half, temperature checks mandatory on the door and every audience member had to provide their contact details upon arrival.  It was definitely a strange experience but joyous to actually see musicians performing live again in person.  

I’ve been very lucky to still manage to see a reasonable number of gigs over the past year in Italy – both before and after the initial lockdown.  Aside from one or two better-known names, most of the acts have been either emerging or just pretty obscure. In my next post will be a rundown of my musical highlights, plus links to how you can find out more about the artists and venues in question if you haven’t heard of them before.  

Expect the eclectic.

In the meantime, you can support musicians and those working in the live music industry during the pandemic crisis by contributing or referring friends or colleagues to the organisations below.

Music Venue Trust

Save Our Venues

Help Musicians

The Musicians’ Union

Guanciale; an appreciation

Cured pig jowl.  Or to be more accurate, “the lower fleshy part of the animal’s cheek and neck”.  It’s not a term that usually makes most people salivate but guanciale is considered a necessity in Italian cookery and is also the subject of a fierce culinary rivalry with its close but actually, still quite distant relative pancetta.

Guanciale is made using the pig’s cheek and jowl.  It is generally rubbed and seasoned in salt, pepper, sage, thyme, rosemary and sometimes garlic, and then dried and aged for at least three months.  The result is a strong-flavoured meat with a texture that softens in the pan in contrast to pancetta, which has a tendency to crisp up.  Most of the fat renders away and gives a deep and distinctive flavour to classic Italian pasta dishes such as Spaghetti alla Carbonara, the tomatoey Sugo alla Amatriciana and the Roman speciality Pasta alla Gricia.

Pancetta in comparison, is made with pork belly that’s seasoned and flavoured with salt, black or red pepper and ingredients such as chilli, juniper and garlic.  The curing process is usually quicker and can last anything from three weeks to three months.  Pancetta can be unsmoked or affumicata and produced either in rolls (typical of Northern Italy) or in wafer-thin slices (more common in the South).  Its flavour is more delicate and therefore, more versatile than guanciale but there is really no contest when the stronger flavour of the former is required for particular recipes.

Guanciale, salumi and salsiccia for days.

I first knowingly experienced a dish made with guanciale in August 2017 at Pasta Remoli, a fantastic, wallet-friendly Italian neighbourhood restaurant tucked away on a side street in Finsbury Park, North London (now happily expanded to seven locations in the capital).  I had decided to shake things up a bit by moving out of my comfortable, yet small flat on Stockwell Road, Brixton and taking on a complete renovation project up on Brixton Hill.  For the next five months whilst the new flat was uninhabitable, I lived transiently in a combination of run-down student halls, cheap, seedy hotels and finally a Bailey caravan on the site at Crystal Palace Park.  I had spent two weeks living in the relatively plush University of Arts London accommodation block Sketch House, hence my chance discovery of the delights of Pasta Remoli.  

The caravan during this period. December 2017. Crystal Palace.

I ate at Pasta Remoli a number of times over that fortnight and on one occasion tried the chef’s recommendation, Pasta alla Gricia.  It was deliciously salty and the guanciale provided a robust umami taste.  The Head Chef and Owner Simone Remoli even popped out of the kitchen to see how I’d enjoyed it.  I was an instant convert.  

I took an Italian friend who was typically picky with food and sceptical about the trattoria-style restaurants in London to Pasta Remoli a year later and it got their seal of approval too.  Highly recommended to any Londoners reading this blog!

In Italy, guanciale is available in most of the bigger supermarkets, as well as the butchers (La Macelleria).  In the UK, more specialist delis may stock it, although unsmoked bacon cubes can also be used as an alternative.  

Shopping in Bari, guanciale costs as little as €3 for 300g.  Its flavour is pungent so best to use it sparingly – you’ll need a sharp knife or even scissors too as the outer casing can be tough.  I’ve cooked Spaghetti alla Carbonara and Pasta alla Gricia with it and the liquid fat wonderfully coats the pasta and gives the dishes a burst of flavour, as well as a glistening, yellow-ish, hue.  The only downside is that my flat smelled like the kitchen of a greasy spoon (for the non-UK readers, the informal name for a traditional British breakfast café) for the next 24 hours – you’ve been warned!

Pasta alla Gricia.