Skip to main content

Time After Time.


If I were to sum up my life at the moment, it would be very much a case of ‘having something I really need to do, but never getting to it due to another fifteen things that end up in the way’.

The thing I need to do is work on new material ready for next week’s Brighton shows, but instead, today inevitably became about preparing for tomorrow’s first St Albans Mostly Comedy date. This was unavoidable, but it was still frustrating, as by the time I finally got to running the short set I’m intending to try out tomorrow, it was getting later and later, so I could only give it a handful of goes before I had to the leave the office and go home.

I long for the day when the thing that’s my personal priority is the thing I work on the most. It’s always the same; I’m constantly giving the tiniest fraction of my time before any gig I do to running or tweaking my set, so the chance of me doing it well in performance is left in the lap of the gods, plus I’m usually stressed or brain-zapped by the time I do it.

It was my intention that this week be primarily about learning the new material I’ve been fiddling with lately so it's in a performable state ready for next week, but this wasn't what happened in practise, due to a constant stream of administrative details for the many Mostly Comedy dates we’ve got coming up in Hitchin, St Albans and London. My frustration about this extra work’s been compounded by not being able to pay myself for it, thanks to the large chunk of punters (that's the correct collective term) who opted for a refund when James Acaster had to pull out of April’s Hitchin date, which ultimately resulted in me doing more work for free. I’m still annoyed that was the overriding reaction, despite an excellent replacement, as it served to illustrate how people now book based solely on names, when there once was a time when most of the acts were unknown (which James was when he first came to the club) but people took the chance in support of the night.

Whatever the case, I still intend to do ten minutes of new stuff tomorrow. It will probably be a little rough around the edges and rickety, but that’s okay. Everything’s got to start somewhere…and I’ll be damned if I’ll turn down the opportunity just to be slick and well-rehearsed; I see it as a very expensive way to get the opportunity to try stuff out.

Popular posts from this blog

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

"Speaking Words of Wisdom, Let it Shine."

Tonight saw the second instalment of BBC1’s latest advertise-a-musical-for-months-and-then-cast-it-with-performers-too-inexperienced-to-do-it-a-thon ‘Let it S̶h̶i̶t̶e̶ Shine’ (or as I call it: ‘REAL AUDITIONS ARE NOTHING LIKE THIS’). I didn’t watch it (clearly), but being reminded of how angry seeing just five minutes of it made me last week caused me to mull over what I would call a musical based on the band’s songbook, if I was responsible for it. Here are a my suggestions: IDEAS FOR TITLE OF A TAKE THAT MUSICAL: Barlow! Dirty Fat-Dancing Orange! A Million Love-changes-everything Songs Owen! Howard's End Pray Misérables Mamma Marka! Babe (with a pig as the lead) …BUT MY FAVOURITE HAS TO BE: Jason & His Amazing Technicolour Dreamcoat. "It was Orange, Orange, Orange, Orange..." (TAKE) THAT’S ENOUGH OF (TAKE) THAT.