There is simply no doubt about it (and I am not accepting any arguments to the contrary) – Doro Pesch is, quite simply, the sexiest fucking woman in rock!
To find out why I know this, read my review of her Mandela Hall concert at www.myspace.com/piedpiperbelfast.
Tuesday 28 April 2009
Sunday 26 April 2009
Sweet Savage album delayed
The Pied Piper has learned that the long-awaited new album from Belfast's own Sweet Savage will have to wait a bit longer before it sees the light of day.
Entitled 'Warbird', I have it on excellent authority that the original June release for the Simon McBride-produced opus will be pushed back.
The album now will surface in July at the earliest - although it may be pushed back still further, until September.
The boys previewed a handful of the songs, including the title track and the excellent 'Regenerator', during their short opening stint for the mighty Saxon at Mandela Hall earlier this evening. Ramie was in great form, proving once again that he is a truly under-rated frontman.
Entitled 'Warbird', I have it on excellent authority that the original June release for the Simon McBride-produced opus will be pushed back.
The album now will surface in July at the earliest - although it may be pushed back still further, until September.
The boys previewed a handful of the songs, including the title track and the excellent 'Regenerator', during their short opening stint for the mighty Saxon at Mandela Hall earlier this evening. Ramie was in great form, proving once again that he is a truly under-rated frontman.
Friday 24 April 2009
Belfast Music Exhibition - Online Video Report
The Belfast Telegraph website has a great report on the official opening of the Belfast Music Exhibition at the Oh Yeah Music Centre. Check it out at http://www.belfasttelegraph.co.uk/tv/belfast-music-exhibition-14279685.html
Thursday 23 April 2009
Keeping Bad Company - Again!
X-COM - Formerly known as BAD COMPANY
After a sell out show in the Empire last May bank holiday weekend, Bad Company are back are back by popular demand, under the new name of X-Com!
Mick Ralphs (Guitars)
Prolific guitarist and multi hit songwriter Mick Ralphs was one of the founding members of Mott The Hoople and, along with Paul Rogers, the founding member of Bad Company.
Mick’s composition "Can't Get Enough" became an immediate hit and pushed the group's 1974 debut album to number one in the US and onto become an an international hit. In 1975, “Straight Shooter” gave the group another US no.1 album. The album also spawned two hit singles, "Good Lovin' Gone Bad" and the slower "Feel Like Makin' Love" both written and co-written by Mick Ralphs respectively.
Robert Hart (Vocals)
Robert Hart fronted and toured with Bad Company for four years. He also co-wrote two of the band's albums, “Company of Strangers” and “Stories Told & Untold”.
Kenny Jones, former drummer of Faces / Small Faces and, more recently, The Who, insists that Robert is one of the best singers in the business.“He’s got one of the most amazing voices I’ve ever heard. I’ve been in bands with the likes of Steve Marriott, Rod Stewart, Roger Daltrey and Paul Rodgers and Robert has a voice right up there with them”.
Robert was signed to Island Records in the 1980s and writing and co-writing several projects including the soundtrack for the Whoopi Goldberg film, The Burglar. Robert’s band, The Distance, gained success in a worldwide market with particularly high sales in Japan.
After leaving the band he moved to Atlantic Records as a solo artist, releasing his first album, Cries and Whispers. He then became the first English artist to be signed by Disney-owned Hollywood Records and worked with Russ Ballard on Robert’s self-titled album, “Robert Hart”, which charted in more than 18 countries.
It was while touring following the release of the album that Robert was approached by Mick Ralphs and asked whether he would be interested in fronting Bad Company.Robert has also fronted Company of Strangers with ex Whitesnake members and is also frontman with the Jones Gang which he formed with former Who drummer, Kenny Jones. The Jones Gang had a US number 1 hit with the track “Angel” which was co-written by Robert. It stayed at no.1 for 12 weeks.
Dave Colwell (Guitars)
Dave is the longest ever serving 'lead guitarist' to have performed throughout the history of Bad Company, appearing on nearly every one of their recorded albums. He has been a member of a multitude of world-class rock bands including Humble Pie, The Jones Gang, The Quireboys, FM and ASAP (with Adrian Smith of Iron Maiden).
He co-wrote several tracks on the Bad Company albums, “Company Of Strangers” and “Stories Told and Untold”. Dave also wrote the song “Reach Out”, performed by Iron Maiden and was used as a B-side on the “Wasted Years” single. He produced the Humble Pie “Back on Track” album and wrote seven of the ten tracks featured on it.
Jaz Lochrie (Bass)
Jaz had a springboard success with eighties white-soul band Go West. A high profile session career ensued followed by a move to Japan to form Psychedelix with Cher resulting in four albums. He toured with Pete Townsend, Alice Cooper and Roger Daltrey efore being approached by Paul Rodgers to tour and record with Bad Company / Paul Rogers which he did from 1995. Jaz played bass on the Merchants of Cool tour with Bad Company and on the live DVD and album, Merchants Of Cool. He also plays bass on the hit musical, Mama Mia and also on the movie soundtrack!
Harry James (Drums)
Known also for his work with Thunder and Magnum, Harry is one of the most respected drummers on the rock circuit. Harry has contributed to work with Don Airey, Russ Ballard, Graham Bonnet, Shadowman and Paul Young. In 2006 he played with The Ian Gillan Band at The Royal Albert Hall.
Empire Music Hall
Saturday 2nd MayDoors 8.30pm£15.50
After a sell out show in the Empire last May bank holiday weekend, Bad Company are back are back by popular demand, under the new name of X-Com!
Mick Ralphs (Guitars)
Prolific guitarist and multi hit songwriter Mick Ralphs was one of the founding members of Mott The Hoople and, along with Paul Rogers, the founding member of Bad Company.
Mick’s composition "Can't Get Enough" became an immediate hit and pushed the group's 1974 debut album to number one in the US and onto become an an international hit. In 1975, “Straight Shooter” gave the group another US no.1 album. The album also spawned two hit singles, "Good Lovin' Gone Bad" and the slower "Feel Like Makin' Love" both written and co-written by Mick Ralphs respectively.
Robert Hart (Vocals)
Robert Hart fronted and toured with Bad Company for four years. He also co-wrote two of the band's albums, “Company of Strangers” and “Stories Told & Untold”.
Kenny Jones, former drummer of Faces / Small Faces and, more recently, The Who, insists that Robert is one of the best singers in the business.“He’s got one of the most amazing voices I’ve ever heard. I’ve been in bands with the likes of Steve Marriott, Rod Stewart, Roger Daltrey and Paul Rodgers and Robert has a voice right up there with them”.
Robert was signed to Island Records in the 1980s and writing and co-writing several projects including the soundtrack for the Whoopi Goldberg film, The Burglar. Robert’s band, The Distance, gained success in a worldwide market with particularly high sales in Japan.
After leaving the band he moved to Atlantic Records as a solo artist, releasing his first album, Cries and Whispers. He then became the first English artist to be signed by Disney-owned Hollywood Records and worked with Russ Ballard on Robert’s self-titled album, “Robert Hart”, which charted in more than 18 countries.
It was while touring following the release of the album that Robert was approached by Mick Ralphs and asked whether he would be interested in fronting Bad Company.Robert has also fronted Company of Strangers with ex Whitesnake members and is also frontman with the Jones Gang which he formed with former Who drummer, Kenny Jones. The Jones Gang had a US number 1 hit with the track “Angel” which was co-written by Robert. It stayed at no.1 for 12 weeks.
Dave Colwell (Guitars)
Dave is the longest ever serving 'lead guitarist' to have performed throughout the history of Bad Company, appearing on nearly every one of their recorded albums. He has been a member of a multitude of world-class rock bands including Humble Pie, The Jones Gang, The Quireboys, FM and ASAP (with Adrian Smith of Iron Maiden).
He co-wrote several tracks on the Bad Company albums, “Company Of Strangers” and “Stories Told and Untold”. Dave also wrote the song “Reach Out”, performed by Iron Maiden and was used as a B-side on the “Wasted Years” single. He produced the Humble Pie “Back on Track” album and wrote seven of the ten tracks featured on it.
Jaz Lochrie (Bass)
Jaz had a springboard success with eighties white-soul band Go West. A high profile session career ensued followed by a move to Japan to form Psychedelix with Cher resulting in four albums. He toured with Pete Townsend, Alice Cooper and Roger Daltrey efore being approached by Paul Rodgers to tour and record with Bad Company / Paul Rogers which he did from 1995. Jaz played bass on the Merchants of Cool tour with Bad Company and on the live DVD and album, Merchants Of Cool. He also plays bass on the hit musical, Mama Mia and also on the movie soundtrack!
Harry James (Drums)
Known also for his work with Thunder and Magnum, Harry is one of the most respected drummers on the rock circuit. Harry has contributed to work with Don Airey, Russ Ballard, Graham Bonnet, Shadowman and Paul Young. In 2006 he played with The Ian Gillan Band at The Royal Albert Hall.
Empire Music Hall
Saturday 2nd MayDoors 8.30pm£15.50
Wednesday 22 April 2009
‘Flight 666’ – A Journey Somewhere Back In Time
The road movie to end all road movies – and all done by air!
Iron Maiden’s first venture onto celluloid (outside promo videos, of course) documents the first leg of last year’s epic ‘Somewhere Back In Time’ where the legends literally attempted to reach the parts other metal bands have never reached before... and naturally succeeded.
I’ll admit to not being the biggest Irons fan in the world: yeah, I do have most of their albums and a couple of DVDs and they are a band for whom I’ve always had the utmost respect - for always sticking to what they believe in – bombastic, straight ahead British metal without pandering to media hype or commercial pressures.
‘Flight 666’ has definitely cemented this respect in concrete – and then some.
In short, it is a fantastic film – one that has been some 30 years in the making... and worth the wait.
At the outset, it is very firmly pointed out that Steve Harris et al are extremely private individuals. This most definitely comes across in this fine documentary.
They always have been extremely honest, especially in their dealings with their fans, and this also comes across, just as they also have very tightly controlled the access they give the media to their inner sanctum (mainly due, as again comes across, to the firm but fair guiding hand of long time manager Rod Smallwood).
Obviously, the movie has a lot of flaws (there is a heavy emphasis on the family values surrounding the band, but do these guys never fight like real families?) – and it is obvious that the band did keep a tight rein on the documentary crew – but it nevertheless is a rare treat: an invaluable glimpse behind the scenes of the biggest rock ‘n’ roll behemoth this planet has ever seen (and ever will!).
There a number of memorable aspects to ‘Flight 666’ that differentiate both this movie and Iron Maiden from the norm of both of their respective artforms – the genuine, self-deprecating humour of all concerned (especially Nicko McBrain), the genuine love of the music they perform, their determination to always put on the best show possible (witness the Australian shows where half the band and crew come down with Delhi belly) – and their utmost respect for their fans.
And the DVD is definitely going to be fun: there’s gotta be at least a million hours of out-takes and 20 concert performances to spare!
Iron Maiden’s first venture onto celluloid (outside promo videos, of course) documents the first leg of last year’s epic ‘Somewhere Back In Time’ where the legends literally attempted to reach the parts other metal bands have never reached before... and naturally succeeded.
I’ll admit to not being the biggest Irons fan in the world: yeah, I do have most of their albums and a couple of DVDs and they are a band for whom I’ve always had the utmost respect - for always sticking to what they believe in – bombastic, straight ahead British metal without pandering to media hype or commercial pressures.
‘Flight 666’ has definitely cemented this respect in concrete – and then some.
In short, it is a fantastic film – one that has been some 30 years in the making... and worth the wait.
At the outset, it is very firmly pointed out that Steve Harris et al are extremely private individuals. This most definitely comes across in this fine documentary.
They always have been extremely honest, especially in their dealings with their fans, and this also comes across, just as they also have very tightly controlled the access they give the media to their inner sanctum (mainly due, as again comes across, to the firm but fair guiding hand of long time manager Rod Smallwood).
Obviously, the movie has a lot of flaws (there is a heavy emphasis on the family values surrounding the band, but do these guys never fight like real families?) – and it is obvious that the band did keep a tight rein on the documentary crew – but it nevertheless is a rare treat: an invaluable glimpse behind the scenes of the biggest rock ‘n’ roll behemoth this planet has ever seen (and ever will!).
There a number of memorable aspects to ‘Flight 666’ that differentiate both this movie and Iron Maiden from the norm of both of their respective artforms – the genuine, self-deprecating humour of all concerned (especially Nicko McBrain), the genuine love of the music they perform, their determination to always put on the best show possible (witness the Australian shows where half the band and crew come down with Delhi belly) – and their utmost respect for their fans.
And the DVD is definitely going to be fun: there’s gotta be at least a million hours of out-takes and 20 concert performances to spare!
The mechanics of time
It was one of those rare Friday afternoons in Belfast in the latter half of the 80s – the sun was actually shining. But, I still have very warm memories of that day for very different reasons.
It was 28 August 1987 and I was sitting in the bar of the Europa Hotel (surprise, surprise I hear from those who know me well). I was a 21-year old rising (well, so I thought) rock hack and I was sitting round a table with five tanned Californians.
They were a band by the name of Tesla. They were different from all the big hair ponces cluttering up the rock charts and airwaves at the time. Very different. For a start, their hair was real: not a whiff of Elnett or extensions in sight. And they could play. Boy, could they play!
Their debut album, ‘Mechanical Resonance’, had been released six months earlier to huge critical and fan acclaim. I myself had described it as “straightforwardly brilliant”, “a masterpiece” and “sheer delight”. It was all the more remarkable because, in that over-produced, producer-manipulated era, it was recorded virtually live.
This particular lunchtime was their first foray across the Atlantic, as support to Def Leppard (did I mention producer manipulation yet?), who were embarking on their first full-scale UK tour since drummer Rick Allen had lost his arm in a car crash. We’ll not go into all that, because it is a road well-travelled (if you’ll forgive the pun).
For Tesla, it was a daunting task – but one they were really looking forward to. They were remarkably relaxed as we chatted, had a few drinks and a bite of lunch (while da Lepps’ female fans tried to break in the Europa’s windows, as Joe Elliott was sitting at the same table! Talk about making my ego feel good when I walked outside later.).
Then it all nearly went so wrong. The band were due to do a signing a session at what was once Golden Discs in Castle Place – except nobody knew where they were supposed to be going. Nobody except your friendly neighbourhood rock hack and his faithful photographer sidekick, that was. So, we bundled the band into a couple of convenient taxis and roared off in the general direction of the city centre.
I knew the band were popular, because the vibe leading up to the gig had been phenomenal. But nothing prepared even me for what we met – a seething sea of humanity, as literally hundreds of rockers tried to squeeze into the store. With no security, it took us ten minutes to fight our way through the crowd to the front door of the store!
Later that night, and the following one, Tesla were ‘Cumin’ Atcha Live’ – and came as close as they were going to be allowed to get to blowing Def Leppard off the stage. The fans were chanting their names and singing their songs: there were Tesla flags hanging from the balcony, and their T-shirts were flying out the doors. As I wrote in my column a few weeks later, when the boys left Belfast “their smiles would have stretched from here to their home town of Sacramento and back … twice!”
It was one of my favourite days in more than 20 years working in and around the music business. One of those days that makes the whole dirty business worthwhile.
The band went on to produce what to me, and many other rock fans of my ilk, is one of THE seminal albums of the period, ‘Five Man Acoustical Jam’ – a live album that did exactly what it said on the cover, and captured the essence of MTV’s new ‘Unplugged’ generation.
In the early 1990s, Tesla proved they did indeed have something in common with their California contemporaries: they imploded, and not prettily.
However, the band have now exploded back on the scene, marking their return with 2007’s ‘Real To Reel’, a double set of covers of hard rock classics. Their most recent album, ‘Forever More’, was released in last year - and has just been reissued in classic vinyl, a harkening back to the halcyon days of the music and a band now back at the top of their game.
The same hysteria is unlikely to greet Brian Wheat and his band of rock ’n’ roll travellers when they return to Belfast in June, but I for one am at the head of the queue for tickets. It has been a long road from the Belfast of 1987 to that of 2009, but it has been one worth travelling.
Tesla headline the Spring and Airbrake on Thursday 11 June. They then play Dublin 02, with Journey, Whitesnake and Def Leppard, on Saturday 13 June, and the Download Festival at Donington on Sunday 14 June.
It was 28 August 1987 and I was sitting in the bar of the Europa Hotel (surprise, surprise I hear from those who know me well). I was a 21-year old rising (well, so I thought) rock hack and I was sitting round a table with five tanned Californians.
They were a band by the name of Tesla. They were different from all the big hair ponces cluttering up the rock charts and airwaves at the time. Very different. For a start, their hair was real: not a whiff of Elnett or extensions in sight. And they could play. Boy, could they play!
Their debut album, ‘Mechanical Resonance’, had been released six months earlier to huge critical and fan acclaim. I myself had described it as “straightforwardly brilliant”, “a masterpiece” and “sheer delight”. It was all the more remarkable because, in that over-produced, producer-manipulated era, it was recorded virtually live.
This particular lunchtime was their first foray across the Atlantic, as support to Def Leppard (did I mention producer manipulation yet?), who were embarking on their first full-scale UK tour since drummer Rick Allen had lost his arm in a car crash. We’ll not go into all that, because it is a road well-travelled (if you’ll forgive the pun).
For Tesla, it was a daunting task – but one they were really looking forward to. They were remarkably relaxed as we chatted, had a few drinks and a bite of lunch (while da Lepps’ female fans tried to break in the Europa’s windows, as Joe Elliott was sitting at the same table! Talk about making my ego feel good when I walked outside later.).
Then it all nearly went so wrong. The band were due to do a signing a session at what was once Golden Discs in Castle Place – except nobody knew where they were supposed to be going. Nobody except your friendly neighbourhood rock hack and his faithful photographer sidekick, that was. So, we bundled the band into a couple of convenient taxis and roared off in the general direction of the city centre.
I knew the band were popular, because the vibe leading up to the gig had been phenomenal. But nothing prepared even me for what we met – a seething sea of humanity, as literally hundreds of rockers tried to squeeze into the store. With no security, it took us ten minutes to fight our way through the crowd to the front door of the store!
Later that night, and the following one, Tesla were ‘Cumin’ Atcha Live’ – and came as close as they were going to be allowed to get to blowing Def Leppard off the stage. The fans were chanting their names and singing their songs: there were Tesla flags hanging from the balcony, and their T-shirts were flying out the doors. As I wrote in my column a few weeks later, when the boys left Belfast “their smiles would have stretched from here to their home town of Sacramento and back … twice!”
It was one of my favourite days in more than 20 years working in and around the music business. One of those days that makes the whole dirty business worthwhile.
The band went on to produce what to me, and many other rock fans of my ilk, is one of THE seminal albums of the period, ‘Five Man Acoustical Jam’ – a live album that did exactly what it said on the cover, and captured the essence of MTV’s new ‘Unplugged’ generation.
In the early 1990s, Tesla proved they did indeed have something in common with their California contemporaries: they imploded, and not prettily.
However, the band have now exploded back on the scene, marking their return with 2007’s ‘Real To Reel’, a double set of covers of hard rock classics. Their most recent album, ‘Forever More’, was released in last year - and has just been reissued in classic vinyl, a harkening back to the halcyon days of the music and a band now back at the top of their game.
The same hysteria is unlikely to greet Brian Wheat and his band of rock ’n’ roll travellers when they return to Belfast in June, but I for one am at the head of the queue for tickets. It has been a long road from the Belfast of 1987 to that of 2009, but it has been one worth travelling.
Tesla headline the Spring and Airbrake on Thursday 11 June. They then play Dublin 02, with Journey, Whitesnake and Def Leppard, on Saturday 13 June, and the Download Festival at Donington on Sunday 14 June.
Belfast Music Exhibition - Opens 22 April
A new exhibition, telling the story of Northern Ireland’s rich musical heritage, has opened in Belfast city centre.
The Belfast Music Exhibition, at the Oh Yeah music centre, in Gordon Street, takes visitors on a unique journey - from Ruby Murray to Snow Patrol, by way of Stiff Little Fingers, Dana and Clodagh Rogers, via The Undertones, The Divine Comedy, Nadine Coyle and Henry McCullough.
The exhibition tells the story of the glorious achievements and diverse musical talents that Northern Ireland has produced over the years, and have helped heap international acclaim on the province.
A series of story boards plot the history of the Northern Ireland music scene from folk music to Snow Patrol, while audio-visual displays showcases performances by the likes of Them, The Undertones, Stiff Little Fingers and Ruby Murray, and a ‘Legends’ wall hails the great achievers in local music.
The exhibition also features a wide range of diverse and unique memorabilia from the local music business and the personalities involved in it – including platinum discs, badges, vintage stage gear, lyric sheets, film footage, ticket stubs and backstage passes.
Among the highlights are rare articles from The Undertones and Stiff Little Fingers, the Fender guitar on which Gary Lightbody of Snow Patrol wrote ‘Run’ and ‘Chasing Cars’, artefacts from the historic Maritime Hotel – and the dress worn by Dana when she won the Eurovision Song Contest in March 1970.
Other exhibits include:
the sequined jacket that Henry McCullough wore on tour with Paul McCartney and Wings;
a guitar belonging to Andy Cairns from Therapy?, that was smashed on stage at the Mandela Hall, Belfast, in 1992;
gold, silver and platinum discs celebrating the achievements of Snow Patrol, Ash and David Holmes;
punk jackets and boots, as work by The Outcasts;
autographs of Ruby Murray, The Undertones, Horslips and Them;
a vintage street sign of Cyprus Avenue, made famous in a Van Morrison song;
rare records from Phil Coulter, Stiff Little Fingers, The Undertones and more;
David McWilliams’ first guitar;
Sam Mahood’s old stage silks from the days of the Maritime Hotel, and membership cards from the club.
Following an appeal back in February for memorabilia, new material continues to arrive at the Oh Yeah centre on a daily basis, which will help to ensure that the content of the exhibition continually changes.
This is one of a series of new music tourism initiatives to celebrate Belfast’s rich musical heritage. Internationally, cultural tourism is developing into one of the fastest-growing and most sustainable aspects of the tourism industry, and recent research shows that 21 per cent of potential visitors are inspired to choose a destination because of the music of that country.
We are aiming to capitalize on this by promoting Belfast’s reputation as the birthplace of great music and making our music scene more accessible to visitors.
Based on leading case studies, from Nashville to Liverpool’s music tourism strategies, these new music tourism initiatives also include the weekly Belfast Music Tour, the new website belfastmusic.org, an MP3 tour, and showcasing our music talent in the international marketplace. Belfast’s music receives high international praise and our latest generation of musicians are playing a crucial role in revitalising the city.
If nurtured in the right way, they have the ability to make Belfast truly competitive on the global stage.
The Belfast Music Exhibition is at the Oh Yeah music centre, which is located in a former bonded whiskey warehouse in Gordon Street, in the heart of the Cathedral Quarter. It covers 14,500 square feet over three floors, and features a performance space, a drop-in area, office units, a privately-run recording studio and exhibition space.
For more information on the exhibition, the Belfast Music Tour, extensive gig listings, mp3 downloads, podcasts, exclusive interviews and much more, visit www.belfastmusic.org
The Belfast Music Exhibition, at the Oh Yeah music centre, in Gordon Street, takes visitors on a unique journey - from Ruby Murray to Snow Patrol, by way of Stiff Little Fingers, Dana and Clodagh Rogers, via The Undertones, The Divine Comedy, Nadine Coyle and Henry McCullough.
The exhibition tells the story of the glorious achievements and diverse musical talents that Northern Ireland has produced over the years, and have helped heap international acclaim on the province.
A series of story boards plot the history of the Northern Ireland music scene from folk music to Snow Patrol, while audio-visual displays showcases performances by the likes of Them, The Undertones, Stiff Little Fingers and Ruby Murray, and a ‘Legends’ wall hails the great achievers in local music.
The exhibition also features a wide range of diverse and unique memorabilia from the local music business and the personalities involved in it – including platinum discs, badges, vintage stage gear, lyric sheets, film footage, ticket stubs and backstage passes.
Among the highlights are rare articles from The Undertones and Stiff Little Fingers, the Fender guitar on which Gary Lightbody of Snow Patrol wrote ‘Run’ and ‘Chasing Cars’, artefacts from the historic Maritime Hotel – and the dress worn by Dana when she won the Eurovision Song Contest in March 1970.
Other exhibits include:
the sequined jacket that Henry McCullough wore on tour with Paul McCartney and Wings;
a guitar belonging to Andy Cairns from Therapy?, that was smashed on stage at the Mandela Hall, Belfast, in 1992;
gold, silver and platinum discs celebrating the achievements of Snow Patrol, Ash and David Holmes;
punk jackets and boots, as work by The Outcasts;
autographs of Ruby Murray, The Undertones, Horslips and Them;
a vintage street sign of Cyprus Avenue, made famous in a Van Morrison song;
rare records from Phil Coulter, Stiff Little Fingers, The Undertones and more;
David McWilliams’ first guitar;
Sam Mahood’s old stage silks from the days of the Maritime Hotel, and membership cards from the club.
Following an appeal back in February for memorabilia, new material continues to arrive at the Oh Yeah centre on a daily basis, which will help to ensure that the content of the exhibition continually changes.
This is one of a series of new music tourism initiatives to celebrate Belfast’s rich musical heritage. Internationally, cultural tourism is developing into one of the fastest-growing and most sustainable aspects of the tourism industry, and recent research shows that 21 per cent of potential visitors are inspired to choose a destination because of the music of that country.
We are aiming to capitalize on this by promoting Belfast’s reputation as the birthplace of great music and making our music scene more accessible to visitors.
Based on leading case studies, from Nashville to Liverpool’s music tourism strategies, these new music tourism initiatives also include the weekly Belfast Music Tour, the new website belfastmusic.org, an MP3 tour, and showcasing our music talent in the international marketplace. Belfast’s music receives high international praise and our latest generation of musicians are playing a crucial role in revitalising the city.
If nurtured in the right way, they have the ability to make Belfast truly competitive on the global stage.
The Belfast Music Exhibition is at the Oh Yeah music centre, which is located in a former bonded whiskey warehouse in Gordon Street, in the heart of the Cathedral Quarter. It covers 14,500 square feet over three floors, and features a performance space, a drop-in area, office units, a privately-run recording studio and exhibition space.
For more information on the exhibition, the Belfast Music Tour, extensive gig listings, mp3 downloads, podcasts, exclusive interviews and much more, visit www.belfastmusic.org
Subscribe to:
Posts (Atom)