mostly david ephgrave

Who knew my favourite person wasn’t even a person? On Sunday, we said goodbye to my precious boy, Elwood. Except it wasn’t really goodbye. All he ever brought was joy, interspersed with farts, and made a difficult few years markedly better just by being him. Elwood joined The Firm (not the Grisham novel) in December 2018. He was a rescue dog with a criminal past as a hare courser, who was abandoned when the fuzz arrived. But he adapted well to our witness protection programme. He never troubled the law again, though he wasn't averse to stealing the odd empty halloumi packet from the kitchen when our backs were turned. His delighted sprint to his bed always gave him away. The art of misdirection was never his strong suit. The gap he leaves is Grand Canyon-like. He was a gentle giant who never snapped at anybody. He helped me cope, and his presence acted like a mental reset. Adopting him was one of the best decisions we made, and the life we gave him was a vast improvement on the one...

Yesterday, we released a new episode of More Than Mostly Comedy , featuring an interview with the excellent Tony Hawks , which we recorded a fortnight ago - our second new MTMC both in a month and since the club relaunched in 2023. That 'our' has been subject to a personnel change since Mostly was last a functioning entity. I now host the podcast with Dan Graham, who also now runs the club with me. I suggested resurrecting the podcast a few months ago to make the most of what, for me, has always been the best part of Mostly Comedy: the fascinating people it brings us into contact with. Why waste that opportunity by restricting it to a one-off gig in a room, when you can get something out of it that lasts beyond that date? (Don't respond.) Tony Hawks is undoubtedly such a person. I've been a fan of his books ever since my friend Ash recommended 'Round Ireland with a Fridge' to me while I gave him guitar lessons in the early 2000s. I instantly fell in love with To...

So much has happened since my last post in March that this blog risks sounding like an itinerary. The main news is that Hitchin Mostly Comedy will return in the summer at a new venue, the Queen Mother Theatre . The road to this decision was convoluted, though enough fell into place en route to leave me optimistic about this new start. The catalyst was a survey I ran via our mailing list a few months back, in which I asked, "If the club returned in the current climate, with tickets still around £15 (and with similar line-ups), would you still attend?"; the response to which, in simple terms, was a resounding yes. Nearly 250 mailing list subscribers responded in a single week, with around a hundred also taking the option to leave some feedback. And only two people were abusive, which counts as a win when you consider they posted their comments online anonymously. Imagine how many more insults we would have received if the comedy club was a woman. Particularly if she was Diane ...

Over the weekend, as a little treat, I attended a screening of three episodes of Hancock's Half Hour at London's Riverside Studios, which was the location of their shooting some sixty-six years earlier; I'm down with the kids (of 1957).  The event was staged by the Tony Hancock Appreciation Society , of which I'm a member, and was the third screening at the venue, though I couldn't make the previous two due to the recent rail strike hoo-ha. So this trip was a case of third-time lucky for me. My last visit to the studios was in 2008, when Glyn and I filmed a promotional interview for our first Edinburgh show, The Balloon Debate (footage I recall seeing once at the time, but never since). Being TV nerds, we were excited to be at the former site of TFI Friday for work reasons. We probably even hummed the opening riff to The Riverboat Song as we walked around the building.  It's no secret that I love Hancock's Half Hour. Why would it be? The writing's timele...

I was sad to hear of the death of Burt Bacharach last week. There's little I can say about his music that someone else won't have said before, and no doubt better. To have had a career that spans so many decades is already extraordinary before you even consider the number of songs he wrote and how many live rent-free in the public consciousness. Even his simpler songs, such as Baby It's You or Magic Moments, have a depth that betrays their simplicity; listen to John Lennon's rendition of the former on The Beatles' first album, Please Please Me, and its hits you straight in the heart. Who cares that he was a twenty-two-year-old singing through a cold that day? The emotional pull of his vocal still gets you. It's no wonder that Bacharach started his career as a jazz pianist. So many of his songs achieve the feat of sounding both musically intricate and effortless. Dropped beats and unusual chords abound without confusing the ear or throwing you off. It's class...

Like most people, I'm gradually easing into 2023, quietly hopeful of what it may bring. Admittedly, current world events don't create the most optimistic backdrop. Only today, the attention-seeking, Tribble-headed man-Muppet Boris Johnson disclosed a phone conversation with Putin early last year, in which old Vlads let slip that a UK missile strike "would only take a minute" (a statement I found less upsetting than Boris saying, "He called me on the blower" like the walking caricature he is). Optimism is a matter of perspective, really. Personally, my January's been a drudge, as it often is. I had a near-miss workwise when I was pencilled for a job that I ultimately didn't get, which was frustrating, though at least it broke the seal casting-wise. By this stage of my career, I've had enough pencils to fill a Ryman the size of Jupiter, but what can you do? It's better to be nearly wanted than not wanted at all (and the less said about my recen...

Last night, we recorded the discussion that will form the meat* of our 'F' instalment of The McCartney McAlphabet . The episode's been in the offing since August, though we kept postponing it, though the will to record was always there. But despite the long hiatus, it was great to be back, although I don't think I played my A-Game - or should that be F? - tonight. I wasn't on form though the edit will reveal if this reads (and if there's a subject I can bluff whatever my mindset, it's Macca). But despite my rustiness, it left me keen to get back in the swing of recording more episodes. I've been in the creative doldrums since I returned from the Fringe and desperately want to break the mental logjam with some new activity, and the podcast is a good start. It's an excellent way to stretch my mental legs (by which I mean 'the legs of my brain' and not some weird limb spasm). It's also worth noting the lovely boost we had when we released ou...

I'm grateful for the little light that came on today, metaphorically speaking*, while playing a few old songs on my acoustic. It was like a gap in my DNA was filled** to complete me. I felt comfortable despite being out of practice, and for once, I didn't question what I was doing; it just felt right. I had a brief moment of clarity that wasn't undercut by my mood or sense of self-worth. If I can tap into this, it might give me the impetus to start something new. It probably helps that I've been revisiting the songs from my 2018 standup show, 'David Ephgrave: My Part in His Downfall', by posting video clips of them on social media as a placeholder until I start my next project (whatever that is). In truth, it's hard to know where to begin with that. The combination of Mostly Comedy's closure after so much difficulty and my long, drawn-out route back to the Fringe has left me burnt out emotionally, creatively and financially, and I need a chance to regrou...

My ongoing mission to tie up loose ends saw me recently edit the final episode of More Than Mostly Comedy (recorded at the last Hitchin Mostly Comedy on 9th December 2021) and my share of the edit of our most recent instalment of The McCartney McAlphabet . Both are available wherever you pick up your podcasts (you lucky thing, you). I'm now in the unusual position of all my editing being up to date, which is a rare treat. In the case of More Than Mostly Comedy, I purposely saved it until I felt ready to look at it and for a time when the stresses of the Fringe had passed. I knew it would be bittersweet because of the circumstances. Unsurprisingly, I didn't want to spend much time wallowing in the last remaining link to something that had been so central to my life for fourteen years. The thought of being confronted by audio from a show that wasn't supposed to be our last was daunting. Both my partnership with Glyn and Mostly Comedy were things I'd fiercely protected, a...

Despite being a bassist for twenty-five years, and probably considering it my first instrument (though that's a bit of a fluid subject), I've only ever owned one bass guitar: my trusty Tanglewood replica of a violin bass. So I think I was entitled to upgrade to a real Hofner, which I finally did this week. Arty Hofner shot (as it's known in the trade). I approached this purchase with guilt and trepidation, as I do when I buy anything significant, despite paying in instalments and not being expensive for what it is. Surely I'm allowed a new bass every quarter-century? Particularly when it's literally* for work. And yet I can't shake the sense that I'm treating myself at a time when money's tight (and that's before today's massive fall in the pound's value on the stock market, which I probably triggered by buying it). However, I bought it to be better equipped next time some muso work comes up. While my old bass has done remarkably well conside...

In the interest of tying up a few loose ends related to my recent Edinburgh Fringe adventures, I thought I'd share videos of two shocking events that occurred there. (Brace yourselves.) The first documents a washing machine with musical aspirations. View this post on Instagram A post shared by David Ephgrave (@ephgraveseyeview) The second shows at least one way my digs stuck the knife in. View this post on Instagram A post shared by David Ephgrave (@ephgraveseyeview) Popcorn, anyone?

While the death of the Queen last week inevitably overshadowed the arrival of the new Tory Prime Minister, Liz Truss, I hope this won't lead to decreased scrutiny. It's hard to fathom that she's the most popular and competent candidate the Tories could rustle up to lead the UK, but I guess that's what happens when you leave the decision to 0.2% of the population. How can someone who sounds like she's voiced by Speak & Spell and curtseys like she didn't spot a dropped curb in front of her be in charge of our nuclear codes? Her speeches are more wooden than every Center Parcs put together, and the civil service nickname her the "human hand grenade", and yet she still nabs the top job. If nothing else, her promotion continues our ongoing Prime Ministerial decline. It's like watching The Doctor regenerate in the most budget way possible after switching from BBC1 to QVC. You can only fold a piece of paper seven times, and yet the Conservatives can p...

It's fair to say my last week on the Fringe didn't progress as I intended. The first enemy at the gate was my old friend, the vestibular migraine, which surfaced a couple of times over the first few weeks like a sinister prelude for what lay ahead. Then on the penultimate weekend, what started as a low-level toothache escalated to the point that I had to call 111 to arrange an emergency appointment for a suspected abscess (good times). I hadn't realised how swollen my bottom jaw was because my beard had concealed it the same way it hides my hideousness from day to day. By last Monday evening, it was extremely uncomfortable and had sent my vertigo into hyperdrive. I was vomiting and felt like seven shades of shit (and that's a lot of shit-shades to deal with). To cut a long story short, that meant no more shows for me. Firstly, my face was too swollen to speak at length, which is pretty much the definition of standup. I was prescribed antibiotics for the infection, which...

Today proved how much better my show works with a bigger audience, something that's probably not that surprising, though it was lovely to have it confirmed. I didn't have that many in - probably about twelve, though a few more were shown through about ten minutes before the end when it was far too late to do a recap so God knows what they thought I was on about - though the impact on the atmosphere was huge. Suddenly, there were laughs to ride and the chance to have fun with the material, and I felt like a standup again too, which was a bonus. That's one of the positives to doing a lot of shows to small audiences on the Fringe: by the time you're back in front of a more substantial crowd, you quickly see the benefit of all those gigs when you had to work for a reaction. This was the case when we filmed my last show, 'David Ephgrave: My Part in His Downfall', a month after the 2018 Fringe. Putting it in front of a packed crowd felt like a treat, and the fact I wa...

 A little over a week has passed since my last blog post, and I'm still in Edinburgh doing my thing. Monday was my first official day off, which was much-needed, though I did squeeze in an interview for my McCartney McAlphabet co-host Clary Saddler's podcast Mouth-Off and a therapy appointment too. The show itself is going well , though I'm still struggling for numbers. I don't mind performing to a small audience generally as it reminds you to connect instead of going on autopilot, though it's not a cost-effective way to do a fringe run. It also doesn't help you build a grassroots following when so few people get to see it. What's nice is people are getting on board with the subject matter. No show is a wasted opportunity, though it's the stuff around it that's frustrating. For example, yesterday, I set up my gear - no mean feat itself - to pack down moments later because just one person came. Days like this when no one has booked in by the time I...